Jakub Halousek

The film is an inquiry into contemporary forms of alternative models of partnerships. For many protagonists, polyamory, open marriage or long-term lover-to-lover relationships present a fulfilling life style, but also a struggle with misunderstanding of the society or conflicts within their own relationships. The director follows the development of relations of her protagonists over several years, while in intimate talks, she searches for the joy, striving and insecurities brought along by such unusual faces of love, revealing a need for redefining partnership in our times.

Trapped in an abusive marriage, a wealthy German prince desperately seeks a way out. But what appears to be the road to salvation soon turns into a highway to hell. The universal language of music meets the international language of Esperanto in this debut opera by Ivan Acher. The carpenter, forest worker, designer and composer has cleverly blended electro-acoustic and contemporary music to breathe life into Ladislav Klíma’s expressionist novel, The Sufferings of Prince Sternenhoch.

Cientos de adolescentes se unen al grupo paramilitar de los reclutas eslovacos para prepararse ante el conflicto final entre civilizaciones y luchar contra aquel que invada su país.

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.

One of the best Czech composers of film soundtracks is often described as a genius of film scores. He was not afraid to experiment and the timelessness of his work is proven by the admiration of the world, including the generation who came to know his music only after his death.

A poetic, but chilling story of seven puppets in train car prior to its journey to a concentration camp.

Documentary from czech director Vít Klusák "Dělníci Bulváru" goes into the world of czech celebrities and journalists.

Mr Sedlacek was writing one-sentence entries in his chronicle from 1981 to 2005. The chronicle includes everyday stories of his and his family's life, the life of the village and its surroundings as well as international events. The authors picked two hundred and used about eighty of them for the screenplay.

An original portrayal of a small Czech village where – as the locals put it – an UFO has landed in the form of a kilometre-long silverish factory: a Korean Hyundai automobile plant. The village, hitherto famous mostly for its sauerkraut and the “Radegast” beer was thus turned into an industrial zone – the largest greenfield investment project in the Czech Republic’s history. Nonetheless, for a long time many farmers resisted selling the land upon which the factory was now standing. Eventually, they all succumbed under the pressure from the neighbours, and even the anonymous death threats. The filmmakers returned to Nošovice two years after the dramatic property buyouts, at the time when the factory has just started churning out cheap cars. Combining the perspectives of seven characters, they have composed a portrayal of a place suddenly changed beyond recognition that is playful and chilling at the same time: a politically engaged absurd flick about a field that yields cars.

Documentary

Jan Hus - A Mass for Three Dead Men tries to recover the legacy of the medieval reformist priest Jan Hus who was burnt to death by inquisition for his criticism and calling for reformation of the Catholic Church in 1415. The story takes place in the late 20th Century and relates to history of territory recently known as the Eastern Block. Jan Hus introduces three individuals - Ryszard Siwiec, Oskar Brüsewitz, and Graham Bamford, who set themselves on fire to protest against the political regimes in which they lived, and against which they had struggled.

The director Vít Klusák is shooting a film about his father, the well-known composer Emil Viklický, but the latter wants nothing to do with it. This creates a portrait without portraiture, since the director places a double in the role of his father, whom he finds through an advertisement published in newspapers. What is interesting is that Klusák does not know his real father personally, but only meets him (or fails to meet him) for the second time in his life while filming...