Pavel Bošek

Lemuel Gulliver (Lubomír Kostelka) has had a car accident and continues his journey across the unknown countryside on foot. On the road he finds a dead rabbit dressed like a man and takes a watch from its waistcoat breast pocket. The half-ruined house that he enters reminds Lemuel of his childhood and brings up a painful memory of a dearly loved girl Markéta who was drowned years ago. Gulliver finds himself in Balnibarbi, a country where he doesn't understand the laws and habits and so continually offends against public decency. It is a day when people are ordered to keep their mouths shut and they force their visitor to follow suit. He faces harsh interrogation and finds it difficult to explain that he is not the rabbit Oscar whose watch has been found in his possession.

A verger, who likes to dress as a priest, is invited, by one of the villagers, to be the pastor at a vacant church. The atheist teacher resents the pastor, and tries to embarrass him in various ways, including being caught with the local girl, Majka.

A black comedy set in a Prague cabaret.

Middle-aged Antonin and his friends, the major, now retired, and the canon, are in the river, swimming and philosophizing. Then it starts to rain. It just seems to be that sort of summer. Antonin runs the swimming bath with his portly wife Katherine... A man appears with his horse-drawn caravan. He lays a striped pole across the river and walks over. With a handstand and a magic trick, Ernie the Conjuror invites everyone to that evening's performance... Ernie is a tightrope walker of only modest skill, but with a slim and beautiful assistant, Anna. Antonin speaks to her. The two spend the night in the change room by the river, Antonin massaging her feet all night long. Katherine decides to move into the caravan with Ernie. But now the major and even the canon sense Anna's attractiveness...

Five Girls Around the Neck, in 1967, set out to explore that critical age of adolescence when a person's character is formed for good or evil. Schorm examined a girl's problems of being giving too much. She tries to buy the goodwill of her less fortunate friends; her intentions are pure, but in the difficulty of communicating she learns envy and deceit, and must decide if she will submit to double dealing or steel her life against self-deception and mediocrity. In addition to the relationship between the girl and her friends, Schorm introduces a teenage romance and the broader relationship between the girl's parents - neatly tied together with segments of Weber's opera "Der Freischütz". He reveals himself as a skilled psychological director with a wide range of knowledge about people.

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.

A picnic is rudely transformed into a lesson in political hierarchy when a handful of mysterious authority figures show up.