Eduard Grečner

An epic exploration of the Czechoslovak New Wave cinema of the 1960s and 70s, structured around a series of conversations with one of its most acclaimed exponents - Closely Observed Trains director Jiří Menzel.

A tribute to Martin Slivka, one of the most important personalities of Slovak cinematography and culture. He was the creator of Slovak documentary ethnographic film, director, screenwriter, dramaturgist, film theoretician, pedagogue, author and ethnograph, but mainly – exceptional person. This documentary is not only a remembrance of maestro Slivka through words of his close friends and colleagues, but also an attempt to slightly uncover the secret of his rich life and work.

A film examines the inner worlds of the three protagonists - two women living in solitary seclusion and a man suddenly breaking into their privacy.

A film examines the inner worlds of the three protagonists - two women living in solitary seclusion and a man suddenly breaking into their privacy.

Television film, based on Rudolf Jašík's novel of the same name, tells the story of a blind boy rejected by his own family.

This is a ballad about love, hate, and a search for a way out of loneliness. It is a dramatic story about the strange potter, Martin Leaps, nicknamed Dragon, who is suspected by the villagers as the cause of natural disasters. He lost his wife, his home, and his freedom due to false accusations. After years he returns to his native village. Putting his own life to risk, he saves a herd of sheep from a forest fire in the hills. But not even this heroic deed helps him to win back the friendship of the locals.

This is a ballad about love, hate, and a search for a way out of loneliness. It is a dramatic story about the strange potter, Martin Leaps, nicknamed Dragon, who is suspected by the villagers as the cause of natural disasters. He lost his wife, his home, and his freedom due to false accusations. After years he returns to his native village. Putting his own life to risk, he saves a herd of sheep from a forest fire in the hills. But not even this heroic deed helps him to win back the friendship of the locals.

In this bitingly satirical film Peter Slovan, a continuous source of trouble for the film functionaries of the socialist Slovakia, tackles an evergreen topic – the corruptive effects of power. Barnabáš Kos, a triangle player at a symphonic orchestra, is suddenly promoted to serve as the head of the said institution, even though both he and his superiors deem him completely unfit for the task. Encouraged in equal parts by this unexpected recognition and the servile praise of his colleagues, Kos’s modesty starts to gradually vanish. The erstwhile bashful and aloof percussionist quickly becomes aware of the advantages of his new office, and begins to realise his increasingly ludicrous artistic ambitions. Ultimately, the submissive marionette turns into a source of public humiliation, and his astonishing career finds an abrupt end. Orchestra serves here as a microcosm that grotesquely reflects the absurd and tragicomic mechanisms of the paranoid apparatus of power.

The film could have been a lyrical evocation of the ČSSR's first generation: the youngsters born during the war, who grew up in a state violently at pains to find and define itself, and were now ready to break away from the nation-builder ethics of their elders – but Grečner turned it into an anxiety-riddled existentialist vision of a whole globe in fear.

The film could have been a lyrical evocation of the ČSSR's first generation: the youngsters born during the war, who grew up in a state violently at pains to find and define itself, and were now ready to break away from the nation-builder ethics of their elders – but Grečner turned it into an anxiety-riddled existentialist vision of a whole globe in fear.

Concentration camp commander Kraft finds out that prisoner Kominek is a former professional boxer. Overnight, the prisoner is made Kraft's exercise partner and unwillingly rises to a privileged position at the camp. His anger over the death of his friend and co-prisoner leads to open revolt. The film brings a new view of human degradation during fascism by a tragic story of one man whose only chance for survival is to accept the rules of an unequal game.

Oldrich "Fajolo" Fajták (Marián Bielik), a student who directs quasi-existentialist verbal abuse at his girlfriend Bela Blazejová (Jana Beláková), takes off to a formally volunteer summer work camp at a farm where he meets her grandfather.