Costume Design
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.
Costume Design
Grandmother / Elsa / Mother / Redhead
チェコ・シュルレアリスムグループの創始者である詩人ビーチェスラフ・ネズバルの小説「少女バレリエと不思議な一週間」を、チェコ・ヌーベルバーグの映画作家ヤロミール・イレッシュが映画化し、ゴシックロリータ映画の最高峰として現在に至るまでカルト的人気を集め続ける1969年製作の異色ファンタジー。厳格な祖母と2人きりで暮らす美少女バレリエ。ある日、村にやって来た旅一座の中に不気味な怪物を見た彼女は、奇妙な悪夢に悩まされるように。それ以来、バレリエの周囲で不思議な出来事が次々と起こりはじめる。
Costumer
In the aftermath of war, two men and a woman begin acting more like children than adults, leading to tragedy.
Pale Girl
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.
Costume Design
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.
Costume Design
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.
Costume Design
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.
