Lucie Fejková

Películas

Matka v trapu
Production Design
Štěstí je krásná věc
Set Designer
Ten, kdo tě miloval
Set Designer
All or Nothing
Set Designer
Linda and Vanda, two good-looking women in their thirties, are inseparable friends and co-owners of a small bookstore in the city center. Linda is divorced, educated and practical, has a little daughter and a sense of responsibility. Vanda, on the contrary, is single and free, attracting men as a magnet, but none of them is able to keep up with her spontaneity. Edo, shy, sensitive, and introverted gay working with them in the bookstore, longs for love for ages too. The lives of this trio get finally tangled by several men, while everything turns up differently than any of them had expected.
10 Rules
Art Direction
The 10 Rules comedy tells a story of a shy scientist Marek who falls hopelessly in love with a seemingly inaccessible girl. His friends determined to help him, call Marek’s father, a successful publisher of books on the subject of how to get a woman. Together, they begin to develop a very peculiar course on girl psychology. However, do these 10 sure-fire rules apply exactly as described in the books?
Polski film
Set Designer
“The fact that I’m playing myself doesn’t mean that it’s me.” Four old schoolmates, today well-known Czech actors (Pavel Liška, Tomáš Matonoha, Josef Polášek and Marek Daniel), decide to make a movie together. Their ambitious colleague Jan Budař takes up directing duties and financing has arrived from Poland. What started out pleasantly enough, however, soon goes awry. Liška’s pronunciation difficulties, Daniel’s alter ego Havlát, and Matonoha’s financial machinations turn the shoot into a fight for survival. More than just a film about friendship and the absurdity of actors’ lives, director Marek Najbrt gives us a witty meditation on reality and illusion, and a unique take on the reality film genre. One of Pavel Liška’s on-set comments (“I didn’t know if I should act as if I were acting, or act as if I weren’t acting, or just not act at all”) illustrates the provocative nature of Najbrt’s subversive, quasi-documentary game.