Helena Anýžová

Funny banter about love, sex, social status, and other ideals, while a new railway employee is trained and sent on his first run as driver.

Valerie, a Czechoslovakian teenager living with her grandmother, is blossoming into womanhood, but that transformation proves secondary to the effects she experiences when she puts on a pair of magic earrings. Now seeing the world around her in a different light, Valerie must endure her sexual awakening while attempting to discern reality from fantasy as she encounters lecherous priest Gracian, a vampire-like stranger and otherworldly carnival folk.

In the aftermath of war, two men and a woman begin acting more like children than adults, leading to tragedy.

Mr. Kopfrkingl enjoys his job at a crematorium in Czechoslovakia in the late 1930s. He likes reading the Tibetan book of the dead and espouses the view that cremation relieves earthly suffering and sets out to save the world. There may be another idealogy that fits snugly with his existing worldview.

In the 1950s, Ludvik Jahn was expelled from the Communist Party and the University by his fellow students, because of a politically incorrect note he sent to his girlfriend. Fifteen years later, he tries to get his revenge by seducing Helena, the wife of one of his accusers.

An apocalyptic story of three wars in three film tales encompassing the end of the WWI,WWII, as well as a vision of the world destroyed by nuclear weapons. This film was honored at the film festivals in Venice and Sorrento. Immediately after that the copy with Italian subtitles was locked in a safe as evidence of the anti-communist activities of the director, who used real footage of the Soviet invasion.

Juraj, a Slovak artist living in Prague, takes stock in his life, realizing that his days pass without purpose. He lives a carefree life. But now he has to choose between two women, between the city and the country, and between creative work and craftsmanship. He has a passion for art but he also has to make a living. Through his relationships with close people, he grows aware of his position and this knowledge helps him to live a more fulfilling and better life.

This three-part ballad, which often uses music to stand in for dialogue, remains the most perfect embodiment of Nemec’s vision of a film world independent of reality. Mounting a defense of timid, inhibited, clumsy, and unsuccessful individuals, the three protagonists are a complete antithesis of the industrious heroes of socialist aesthetics. Martyrs of Love cemented Nemec’s reputation as the kind of unrestrained nonconformist the Communist establishment considered the most dangerous to their ideology.