Artur Stacha

Diane is married to an architect in this situation comedy. The two met in Czechoslovakia before marrying and moving to France. He becomes extremely jealous when he suspects her of having a lesbian affair with a ballet dancer. His incessant questions and insane jealousy make Diane resentful to the point she considers pushing him off a cliff.

A black comedy set in a Prague cabaret.

Widowed yeoman Tuma and his household are on their way to help the town of Kourim, which is under attack by the papist troops. His son Ondra is secretly following his father. Miksík the castellan, who is responsible for Ondra, finds himself forced to set off after the boy. They are both captured by soldiers from Kutná Hora. Miksík sacrifices himself to give Ondra a chance to flee. On the way, Ondra runs into the orphan Sulík. The two boys become friends and begin to wander together.

A beautiful, underachieving, 18-year-old orphan considers various suitors, ponders philosophy, and takes a young girl under her wing.

Oldrich is the runt of his village, beaten by his father, bullied by the other boys. But he has imagination of his side, and a wiry toughness they can’t defeat. The village is in turmoil, because the Nazi occupiers have just retreated and the Red Army is advancing. Oldrich dodges amid the mayhem and panic, taking his share of blows but always managing to stay one step ahead. Beautifully shot and darkly ironic, Karel Kachyna’s forgotten masterpiece jumbles reality, memory and fantasy to capture the intensity and confusion of childhood in a war zone.

Spring 1943: A three-member group of resistance fighters flies from a Soviet military airport into the Protectorate of Bohemia and Moravia to establish contacts with an illegal communist center in the occupied territory.

A student work by Jiří Menzel, filmed during his second year at the FAMU film school. Views of old Prague and its tenement buildings, symbolizing the obsolete past, alternate with shots of construction sites for new prefabricated apartment buildings. In spite of certain unavoidable propagandistic overtones added by the director, it is notable as the beginning of his search for a “dramaturgy of colors.”