Mariana Čížková

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As a mother ascends a seemingly endless staircase, she plays a dark game with her son where nothing but their imagination sets the limits.

A film about the end of the world and the end of a roll of toilet paper. In his deftly playful work shot on 16mm, filmmaker (and musician) Ondřej Vavrečka reminisces, says his farewells and also reflects on the limits of progress. Via three fictional characters, each of whom responds differently to the impulses of their surroundings, he simultaneously enhances the sensitivity of the film audience. Will a pain we experience leave a scar or merely a colourless memory? And will someone remember the old Vysočany station a hundred years from now? In its poetic charm this cinematic piece is almost tactile in nature; it awakens all the senses and, in places, bears the hallmark of Jan Švankmajer, if the latter had been born an essential optimist, that is. Film as a whisper emanating from smiling lips. (Viktor Palák, KVIFF)

Two girls wait to be picked up at the train station. One finds herself unable to let go of the end of a trip she wants to last forever.

Lukas' mother has the last hours of her life left. Her biggest wish is for Lukas to have a child. So Lukas asks his neighbor Natalie, who is five months pregnant, to visit his mother in the hospital and tell her that she is going to have his baby. His mother is finally happy - Lukas fulfilled her greatest wish. Soon after, they receive some very happy news - a new heart donor has been found. After the operation, Lukas and Natalie must keep up the act to avoid upsetting his recovering mother. As they play the devoted couple, the web of lies expands, ensnaring family friends and Lukas's colleagues. The deception starts to turn Lukas's life upside down.

An obsessive businesswoman walks through the same routine every day until one day, she breaks a heel and falls into an alternate universe, where the only thing that can bring her back to reality is to let go of control.