Radim Procházka

A dark comedy about humankind’s desire to love and to be loved. Centred around neediness, intimacy and romance. Told through a series of loosely connected, tender and absurd scenes, the film follows people who are searching for closeness and acceptance. In a world that preaches self-control, the film explores the sides we try to hide, such as feeling needy and pathetic. The stories overlap and reappear, gradually forming a portrait of collective longing.

No synopsis available yet.

From his truck, rising online star Štefan Pongo streams his political rants and creates social media movements that go viral, in support of Romani people across Europe.

A rich Czech tourist and his translator come to an Inuit shaman – an Angakkoq. The meeting, arranged at a local museum, is to discuss a legendary encounter between the Angakkoq’s ancestors with the ancestors of the Czech tourist. The foreigner is willing to pay a lot of money for the story. The shaman’s evocative narration brings to life a fictional story from the time of the first Christian missionaries in Greenland. This short film about the clash of different cultures and mentalities is the first Czech-Greenlandic co-production.

Amidst today’s urban jungle of concrete, glass and metal, it is easy to forget that we actually live in the territory formerly dominated by wildlife. Many of its members have been exterminated by humans, while others have fled the sprawling urbanization to the surrounding countryside. It is their survival strategies that get revealed in exciting detail in the documentary series, Planet Czechia. For two years, a team of camera operators headed by Jan Hošek were recording a life cycle of Prague’s wild animal world across all seasons of the year. The film, accompanied by the commentary read by the actor Jiří Macháček, registers everyday struggles of the fat dormouse, the mouflon, blackbirds or the water hen, teaching the viewers in a casual manner a higher degree of tolerance toward the city’s overlooked inhabitants.

1940. On the border between Latvia and the USSR, a woman is killed in front of her house as she tried to protect her son from the liberating attack of the Soviets. Almost 80 years later, the archive photo bearing witness to this news item and representing a collateral victim of the European Union’s founding conflict forms the starting point for a journey undertaken by Davis Sīmanis. He navigates from one side to the other of this border, which today represents another separation, one that is geographical but also cultural: between Europe and Russia.

No synopsis available yet.

A dark comedy about humankind’s desire to love and to be loved. Centred around neediness, intimacy and romance. Told through a series of loosely connected, tender and absurd scenes, the film follows people who are searching for closeness and acceptance. In a world that preaches self-control, the film explores the sides we try to hide, such as feeling needy and pathetic. The stories overlap and reappear, gradually forming a portrait of collective longing.

From his truck, rising online star Štefan Pongo streams his political rants and creates social media movements that go viral, in support of Romani people across Europe.

A rich Czech tourist and his translator come to an Inuit shaman – an Angakkoq. The meeting, arranged at a local museum, is to discuss a legendary encounter between the Angakkoq’s ancestors with the ancestors of the Czech tourist. The foreigner is willing to pay a lot of money for the story. The shaman’s evocative narration brings to life a fictional story from the time of the first Christian missionaries in Greenland. This short film about the clash of different cultures and mentalities is the first Czech-Greenlandic co-production.

Amidst today’s urban jungle of concrete, glass and metal, it is easy to forget that we actually live in the territory formerly dominated by wildlife. Many of its members have been exterminated by humans, while others have fled the sprawling urbanization to the surrounding countryside. It is their survival strategies that get revealed in exciting detail in the documentary series, Planet Czechia. For two years, a team of camera operators headed by Jan Hošek were recording a life cycle of Prague’s wild animal world across all seasons of the year. The film, accompanied by the commentary read by the actor Jiří Macháček, registers everyday struggles of the fat dormouse, the mouflon, blackbirds or the water hen, teaching the viewers in a casual manner a higher degree of tolerance toward the city’s overlooked inhabitants.

1940. On the border between Latvia and the USSR, a woman is killed in front of her house as she tried to protect her son from the liberating attack of the Soviets. Almost 80 years later, the archive photo bearing witness to this news item and representing a collateral victim of the European Union’s founding conflict forms the starting point for a journey undertaken by Davis Sīmanis. He navigates from one side to the other of this border, which today represents another separation, one that is geographical but also cultural: between Europe and Russia.

The desire for freedom during Czechoslovakia’s Normalization period brought together people professing a deep inclination towards principles of the underground movement. Now, decades later, they can’t face their mutual suspicions of betrayal – of having cooperated with the state security police. Drifting throughout is the memory of their tragically departed guru, philosopher and poet Marcel Strýko. To try to come to terms with the past, an old companion from Prague organizes a revival concert in a Gothic cathedral. Will this reunion of freethinkers finally lead to repentance and forgiveness?

Near us, nature takes back what man has stolen. Within the environment of open cast brown coalmines and spoil tips which are the reminder of a lunar landscape, one finds paradoxically a true tale of an impregnable wild countryside.

33-year-old Roman decides to tackle his drug addiction by undergoing group therapy as part of a community holed up on an isolated farm in the Šumava mountains. Twelve people, men and women of varying ages and social status, voluntarily subject themselves to a tough regime under the supervision of three therapists. Many of them have stared death in the face already – overdoses, suicide attempts, and aggression heightened by the use of hard drugs, outwardly affecting even the strongest of them. Each brings something of his past into the group, which he has to experience again, both for himself and for those assembled. Past anguish, wrongs and guilt give rise to new problems: in this thickening atmosphere of suspicion and lies, who can still be trusted? This intimate psychological drama deliberately sets out to break up the tight narrative form through retrospectives in which we learn about the past life of each individual.

Slovak director Zuzana Piussi examines her fellow countrymen’s current notions of nationality. She expresses her concern that Slovak national sentiment is rather fragile and liable to political misuse. The protagonists often reject the leading Czech figures of Czechoslovak history and prefer to look for their roots in the common “pre-national“ past of Great Moravia. Although many of the stories are rather tragicomic, the turbulent developments in the EU have shown that the search for one’s own identity is a sensitive matter not only in Slovakia.

Vašek learns that he is dying, so he steals a painting and goes to Rome to sell it – he needs money for a healer. Sitting on a train with a fake mustache on his face, he has no idea that he has, in fact, been sent on a spiritual quest of his life by a beautiful girl. His pursuers look as if they were transported from a 1970’s movie, yet his attention is constantly drawn to the other passengers, who pull him into their own stories with no mercy. Vašek slowly gets lost in a colorful chaos of other people’s destinies, opinions and his own dreams. In the end, his train will take some of them to hell, others to enlightenment or a bizarre epiphany. The film takes a humorous view on all the basic philosophical questions we have heard so many times but that we have yet to find the answers to.

One of the most striking contemporary Czech film-makers and literary figures, twice over winner of the Magnesia Litera Award, Martin Rysavý, is himself the central character of his new, philosophically tinged travelogue. He takes part in the Ukrainian Maidan, takes the Trans-Siberian Express across Russia, sails down the Kolyma river, comes across nomadic reindeer herdsmen, soldiers, mystics, artists and scholars. He tries to comprehend the present situation of two feuding countries of the former Soviet empire. The film's framework forms the director's conversation with a Prague optician, Jakub Thuri, shot during the director's check-up. Using travel materials on top, it allows a peep inside a traveller's consciousness wandering in recollections and trails of sensory perceptions from expeditions to far-away lands and finding a way how to grasp them, put them in order and pass them on.

No synopsis available yet.

Jan calls himself Buffalo. He loves cowboys, he’s blind, and may lose his hearing. The documentary follows his journey to America to visit the chief of the Navajo tribe, who wants to perform a ritual to help his hearing. The film is full of unpretentious humor thanks to Jan’s charisma. In the USA, he’s like the Don Quixote of the Wild West - a naive adventurer in a world that is much more ordinary than his imagination. This observational, but not standoffish, film is also an example of how the medium of film can relate to blind people by constantly showing the difference between what Jan perceives and what we actually see.

Film crew on the road: Director (Jaroslav Plesl), his Producer (Simona Babcáková), and their Director of Photography (Jirí Vyorálek) and Sound Arist (Johana Svarcova). Starving artists who already have a number of films to their names, Czech Lion award-winning films, excellent reviews and have been screened at numerous festivals, but they don't have audiences. Their next collaborative effort - the Director's lifetime dream - is quickly becoming oblivion because he failed to win a grant, which means it won't be made. And so the frustrated Director and his colleagues await their chance among record-holders of curious disciplines such as crawling with a squash racket or collecting four-leaf clovers. How will the collision of these two worlds end? What will the Director's next film be about?

A children's film about the largest mass suicide of the 20th century reconstructs the 1978 event. The Reverend Jim Jones forced nearly a thousand followers of his People's Temple sect to drink poison in the settlement of Jonestown, Guyana, South America. A third of them were children. Jan Bušta gives sadists, voyeurs, and necrophiliacs one minute to leave the cinema. His self-reflective documentary, which is the result of ten years of time-lapse filming, does not depict dramatic scenes. To the sound of an audio recording from that fateful day, we see a collage of child ghosts preaching about escaping the corruption of the world.

The six-hour essay in four parts examines the history of regimes and revolutions, leaders and martyrs, from a philosophical perspective. The collage of personal memories, staged scenes and archives of collective memory compares the Prague Spring to the Velvet Revolution and shows the exposure, conflict, crisis, and catharsis of the post-communist society. Democracy can be saved through creative laughter, dissolving the untouchability and hypertrophic egos of the representatives of state institutions. The Internet frees the society from representatives of the non-functional connecting link that prevents direct communication between citizens and institutions of power. “I can see you until I spot you. Once I spot you, I cannot see you anymore.” K. Vachek

Karel Vachek’s latest documentary essay deals with the fine line between an internal belief in God and institutionalized religion. At the same time it brings up the need for a healthy sense of skepticism and the benefit of not believing in anything that advertises itself as certain. The filmmaker sets out for the USA, Japan, Great Britain, Poland, and the Balkans in his sometimes amusing investigation of spiritual substitutes, such as esoteric "teachings” or various fraudulent and magical practices, to which we sometimes fall prey due to our natural religious cravings. In addition to a Czech "prefab” family, who describe the carryings-on of their poltergeist, well-known mystery buffs appear in the film: Erich von Däniken, Raymond Moody Jr., and Ivan Mackerl.

Libor, a former teacher, enjoys a well-paid position as a bank manager, living in a luxurious villa outside Prague. His business partners are taken into custody and the authorities have a few questions for him to answer. Rather than wait around, he decides to take off to Moravia with his wife and two children. In the process, he pretends that everything is normal, rediscovers the value of family life, meets up with a former colleague lost in provincial obscurity, and becomes the object of a manhunt. Libor is not a criminal type, merely someone who signs cheques and is drawn into a business world failing to recognise its own criminality (he doesn’t even flee the country).

Even amongst Christmas decorations a spark of fancy may appear. What to do though when merciless Fate (or the human hand) has placed our beloved right to the other side of the tree? No use crying when a decoration wants to achieve something - it must unhook itself. And thus, our snowman Karel sets off with the straw angel Kamil in search of snow-lass Eva. They wander through the Christmas tree overcoming obstacles, and with the help of other distinctive decorations they eventually reach Eva who is being held captive by the evil Balls brothers.

Zdena, a young nurse, starts her first night shift at an old people’s home and immediately faces a difficult task: she has to deal with the body of a deceased client. A gentle portrait of faltering youth and a realistic tale of an encounter with death in a blend of physically intense moments and absurd humour.

How do Belarusian politics, the waning glory of poetry, and the navel of the sky relate to each other? Director Radim Procházka explores the presidential candidacy of renowned Belarusian poet Uladzimir Nyaklyaev during the manipulated 2010 elections. After the police brutally beat and disperse protestors on Independence Square, the poet ends up under house arrest. Thanks to poetry, however, he can escape and fight.

How do Belarusian politics, the waning glory of poetry, and the navel of the sky relate to each other? Director Radim Procházka explores the presidential candidacy of renowned Belarusian poet Uladzimir Nyaklyaev during the manipulated 2010 elections. After the police brutally beat and disperse protestors on Independence Square, the poet ends up under house arrest. Thanks to poetry, however, he can escape and fight.

The story of Johann Gregor Mendel briefly and entertainingly encompasses his entire life from childhood to the autumn of life: all the pitfalls and peripeties fate has prepared for him, his father's death, monastic service, and above all the basic discovery of the laws of heredity he made while crossing pea lines. When his contribution was misunderstood by his contemporaries, Mendel turned to a number of other natural sciences.

No synopsis available yet.

No synopsis available yet.

No synopsis available yet.

No synopsis available yet.

No synopsis available yet.

No synopsis available yet.

In the middle of the village of Drnovice, with a population of two thousand, near Vyškov in South Moravia, stands a football stadium for eight thousand spectators. It is a pyramid of a defunct football civilization, once ruled by famous names such as Karel Brückner and Radek Drulák. The rise and fall of the Drnovice football club is typical of Czech football, politics, and business in the 1990s—behind it lie not only beautiful goals, but also mysterious sponsors, corruption, and doping. Let's travel back to a time when even the highest-ranking government officials couldn't tell heating oil from gasoline, and when Czech footballers were playing for the European title.

In the middle of the village of Drnovice, with a population of two thousand, near Vyškov in South Moravia, stands a football stadium for eight thousand spectators. It is a pyramid of a defunct football civilization, once ruled by famous names such as Karel Brückner and Radek Drulák. The rise and fall of the Drnovice football club is typical of Czech football, politics, and business in the 1990s—behind it lie not only beautiful goals, but also mysterious sponsors, corruption, and doping. Let's travel back to a time when even the highest-ranking government officials couldn't tell heating oil from gasoline, and when Czech footballers were playing for the European title.

No synopsis available yet.

No synopsis available yet.