Johana Ožvold

As if directing a science-fiction film, Johana Ožvold dissects the story of electronic music. From the pioneer sound engineers working behind the Iron Curtain, through the French avant-garde composers, up to the post-modern creators of digital sonic artefacts, the first-time filmmaker summons an abstract landscape that is haunting and yet achingly beautiful. A voice appears from old television screens forgotten in the maze of some futuristic archive where past and future seem to coexist in a complex and multi-layered way.

As if directing a science-fiction film, Johana Ožvold dissects the story of electronic music. From the pioneer sound engineers working behind the Iron Curtain, through the French avant-garde composers, up to the post-modern creators of digital sonic artefacts, the first-time filmmaker summons an abstract landscape that is haunting and yet achingly beautiful. A voice appears from old television screens forgotten in the maze of some futuristic archive where past and future seem to coexist in a complex and multi-layered way.

As if directing a science-fiction film, Johana Ožvold dissects the story of electronic music. From the pioneer sound engineers working behind the Iron Curtain, through the French avant-garde composers, up to the post-modern creators of digital sonic artefacts, the first-time filmmaker summons an abstract landscape that is haunting and yet achingly beautiful. A voice appears from old television screens forgotten in the maze of some futuristic archive where past and future seem to coexist in a complex and multi-layered way.

As if directing a science-fiction film, Johana Ožvold dissects the story of electronic music. From the pioneer sound engineers working behind the Iron Curtain, through the French avant-garde composers, up to the post-modern creators of digital sonic artefacts, the first-time filmmaker summons an abstract landscape that is haunting and yet achingly beautiful. A voice appears from old television screens forgotten in the maze of some futuristic archive where past and future seem to coexist in a complex and multi-layered way.

유명한 체코 감독 이반 트로얀이 스릴 넘치는 스릴러뿐만 아니라 공산당이 체코슬로바키아에서 권력을 잡은 소위 제3공화국(1945-1948) 시기의 역사적 기록과 목격자 진술을 바탕으로 한 실제 사건을 충실하게 재구성한 작품을 선보인다. 영화는 이전에 언급된 적은 없지만 체코슬로바키아 전후 발전에 크게 기여한 즈데녜크 토만 해외 정보국장에 관한 믿기 힘든 실화를 보여준다. 그는 공산당이 다가오는 선거에서 이길 수 있게 자금을 마련하는 역할을 맡았다. 그리고 그는 항상 자기와 자신의 가족 그리고 공산당을 위해 돈을 마련하는 방법을 알았다. 막강한 권력을 가진 이 파렴치한 사업가는 자기 일을 수행함에 있어 그 무엇도 꺼리지 않았다. 암거래, 협박, 전범과 그들의 피해자에게 돈을 받아내는 것도 서슴지 않았다. 그는 자신의 위대한 업적 때문에 그 자신 뿐 아니라 친지도 높은 대가를 치뤄야했다.

Young married couple Radek and Johana are considering adoption. In order to weigh up the possible risks, they gatecrash a meeting of their contemporaries who grew up in adoptive families and contacted each other via internet chat rooms. A group of thirty-somethings get together at a campsite for a few days in order to set up an association in support of adoption. Despite their shared fate and "noble” intentions, the members of this small community don’t hit it off. Where does pretentious tolerance end and buck-passing indifference begin? And what has decent morality got in common with xenophobia? As an ironic reflection that questions how prepared we should be to help each other out, the film offers a sophisticated and poetic take on the grimly authentic style of the Dogme 95 Manifesto. This satirical comedy was the result of collaboration with the LÁHOR/Soundsystem theatre group, which focuses on realistic collective stage improvisation within the structure of a predetermined story.

Film crew on the road: Director (Jaroslav Plesl), his Producer (Simona Babcáková), and their Director of Photography (Jirí Vyorálek) and Sound Arist (Johana Svarcova). Starving artists who already have a number of films to their names, Czech Lion award-winning films, excellent reviews and have been screened at numerous festivals, but they don't have audiences. Their next collaborative effort - the Director's lifetime dream - is quickly becoming oblivion because he failed to win a grant, which means it won't be made. And so the frustrated Director and his colleagues await their chance among record-holders of curious disciplines such as crawling with a squash racket or collecting four-leaf clovers. How will the collision of these two worlds end? What will the Director's next film be about?