Karel Vachek

Karel Vachek

Рождение : 1940-08-04, Tišnov, Czechoslovakia [now Czech Republic]

Смерть : 2020-12-22

Профиль

Karel Vachek

Фильмы

Points for the President aka Attempt at Contrarevolution
Dramaturgy
In his provocative mosaic of opinions from different sides of the political spectrum, Martin Kohout reflects on where the ideals of November 1989 and the former sense of community have disappeared to. He tries to understand the progressive fragmentation of Czech society through two recent events. Both the parliamentary elections in 2017 and the subsequent direct election of the president made it clear that there is no consensus in the country today on even the most basic concepts such as "freedom" or "democracy". Sources of concern, ideas about the country's future direction, and the national myths on which cultural and political figures and disaffected voters rely all vary.
Communism and the Net, or the End of Representative Democracy
Himself
The six-hour essay in four parts examines the history of regimes and revolutions, leaders and martyrs, from a philosophical perspective. The collage of personal memories, staged scenes and archives of collective memory compares the Prague Spring to the Velvet Revolution and shows the exposure, conflict, crisis, and catharsis of the post-communist society.
Communism and the Net, or the End of Representative Democracy
Screenplay
The six-hour essay in four parts examines the history of regimes and revolutions, leaders and martyrs, from a philosophical perspective. The collage of personal memories, staged scenes and archives of collective memory compares the Prague Spring to the Velvet Revolution and shows the exposure, conflict, crisis, and catharsis of the post-communist society.
Communism and the Net, or the End of Representative Democracy
Director
The six-hour essay in four parts examines the history of regimes and revolutions, leaders and martyrs, from a philosophical perspective. The collage of personal memories, staged scenes and archives of collective memory compares the Prague Spring to the Velvet Revolution and shows the exposure, conflict, crisis, and catharsis of the post-communist society.
Všichni mají pravdu? Karel Floss a ti druzí
Dramaturgy
Obscurantist and His Lineage or The Pyramids' Tearful Valley
Writer
Karel Vachek’s latest documentary essay deals with the fine line between an internal belief in God and institutionalized religion. At the same time it brings up the need for a healthy sense of skepticism and the benefit of not believing in anything that advertises itself as certain. The filmmaker sets out for the USA, Japan, Great Britain, Poland, and the Balkans in his sometimes amusing investigation of spiritual substitutes, such as esoteric "teachings” or various fraudulent and magical practices, to which we sometimes fall prey due to our natural religious cravings. In addition to a Czech "prefab” family, who describe the carryings-on of their poltergeist, well-known mystery buffs appear in the film: Erich von Däniken, Raymond Moody Jr., and Ivan Mackerl.
Obscurantist and His Lineage or The Pyramids' Tearful Valley
Director
Karel Vachek’s latest documentary essay deals with the fine line between an internal belief in God and institutionalized religion. At the same time it brings up the need for a healthy sense of skepticism and the benefit of not believing in anything that advertises itself as certain. The filmmaker sets out for the USA, Japan, Great Britain, Poland, and the Balkans in his sometimes amusing investigation of spiritual substitutes, such as esoteric "teachings” or various fraudulent and magical practices, to which we sometimes fall prey due to our natural religious cravings. In addition to a Czech "prefab” family, who describe the carryings-on of their poltergeist, well-known mystery buffs appear in the film: Erich von Däniken, Raymond Moody Jr., and Ivan Mackerl.
Obscurantist and His Lineage or The Pyramids' Tearful Valley
Story
Karel Vachek’s latest documentary essay deals with the fine line between an internal belief in God and institutionalized religion. At the same time it brings up the need for a healthy sense of skepticism and the benefit of not believing in anything that advertises itself as certain. The filmmaker sets out for the USA, Japan, Great Britain, Poland, and the Balkans in his sometimes amusing investigation of spiritual substitutes, such as esoteric "teachings” or various fraudulent and magical practices, to which we sometimes fall prey due to our natural religious cravings. In addition to a Czech "prefab” family, who describe the carryings-on of their poltergeist, well-known mystery buffs appear in the film: Erich von Däniken, Raymond Moody Jr., and Ivan Mackerl.
Experience of an Exorcist
Dramaturgy
The film is a monolog in which Catholic priest Vojtěch Kodet recounts his experiences with souls in the clutches of evil forces. The film, which frequently quotes from the writings of Raul Salvucci, is based on a sermon focused exclusively on the taboo subject of exorcism. The only thing connecting the priest with the outside world is a walk among the trees, which for a moment brings about a sense of calm free from temptation and obsession.
Záviš, kníže pornofolku pod vlivem Griffithovy Intolerance a Tatiho Prázdnin pana Hulota aneb Vznik a zánik Československa (1918 - 1992)
Screenplay
A dog's funeral becomes part of a chain of absurd events including a tomato ketchup battle, a reconstruction of the battle of Austerlitz and a motorbike show. Its common denominator is the commercial interest of sponsors and big business, the ambivalent winners of privatization and participants of numerous corruption affairs. Vachek debates corruption and environmental disaster, but insists that there is an alternative. Against the mass of "pseudoevents" is the independent techno-party CzechTekk, raided by the police despite the fact that it was entirely law-abiding, whose participants are Vachek believes to be the new "unionists".
Záviš, kníže pornofolku pod vlivem Griffithovy Intolerance a Tatiho Prázdnin pana Hulota aneb Vznik a zánik Československa (1918 - 1992)
Director
A dog's funeral becomes part of a chain of absurd events including a tomato ketchup battle, a reconstruction of the battle of Austerlitz and a motorbike show. Its common denominator is the commercial interest of sponsors and big business, the ambivalent winners of privatization and participants of numerous corruption affairs. Vachek debates corruption and environmental disaster, but insists that there is an alternative. Against the mass of "pseudoevents" is the independent techno-party CzechTekk, raided by the police despite the fact that it was entirely law-abiding, whose participants are Vachek believes to be the new "unionists".
Who Will Watch the Watchman? Dalibor, or the Key to Uncle Tom's Cabin
Screenplay
In the fourth and final instalment of Karel Vachek’s not-so-little Little Capitalist Tetralogy, preparations for an opera performance in the Czech capital’s art-nouveau National Theatre become the occasion for a reflection on rebels, dissidents, and others subversives who stand in battle, heroically and sometimes tragically, against majority opinion, established rules, or powerful institutions. "As the camera wanders over, around and through Prague’s lavish National Theatre, director J.A. Pitínský coaches singers through a rehearsal of Bedřich Smetana’s tragic opera Dalibor. Intercut with the tale of the 15th-century knight who, imprisoned, refused to name names, Vachek interviews, on the plush red seats of the empty theatre, a whole series of latter-day rebels.
Who Will Watch the Watchman? Dalibor, or the Key to Uncle Tom's Cabin
Director
In the fourth and final instalment of Karel Vachek’s not-so-little Little Capitalist Tetralogy, preparations for an opera performance in the Czech capital’s art-nouveau National Theatre become the occasion for a reflection on rebels, dissidents, and others subversives who stand in battle, heroically and sometimes tragically, against majority opinion, established rules, or powerful institutions. "As the camera wanders over, around and through Prague’s lavish National Theatre, director J.A. Pitínský coaches singers through a rehearsal of Bedřich Smetana’s tragic opera Dalibor. Intercut with the tale of the 15th-century knight who, imprisoned, refused to name names, Vachek interviews, on the plush red seats of the empty theatre, a whole series of latter-day rebels.
Bohemia Docta or the Labyrinth of the World and the Lust-House of the Heart (A Divine Comedy)
Screenplay
A labyrinthine portrait of Czech culture on the brink of a new millennium. Egon Bondy prophesies a capitalist inferno, Jim Čert admits to collaborating with the secret police, Jaroslav Foglar can’t find a bottle-opener, and Ivan Diviš makes observations about his own funeral. This is the Czech Republic in the late 90s, as detailed in Karel Vachek’s documentary.
Bohemia Docta or the Labyrinth of the World and the Lust-House of the Heart (A Divine Comedy)
Director
A labyrinthine portrait of Czech culture on the brink of a new millennium. Egon Bondy prophesies a capitalist inferno, Jim Čert admits to collaborating with the secret police, Jaroslav Foglar can’t find a bottle-opener, and Ivan Diviš makes observations about his own funeral. This is the Czech Republic in the late 90s, as detailed in Karel Vachek’s documentary.
Bohemia Docta or the Labyrinth of the World and the Lust-House of the Heart (A Divine Comedy)
A labyrinthine portrait of Czech culture on the brink of a new millennium. Egon Bondy prophesies a capitalist inferno, Jim Čert admits to collaborating with the secret police, Jaroslav Foglar can’t find a bottle-opener, and Ivan Diviš makes observations about his own funeral. This is the Czech Republic in the late 90s, as detailed in Karel Vachek’s documentary.
What Is to Be Done? A Journey from Prague to Ceský Krumlov, or How I Formed a New Government
Self
Quite a few years have passed since November 1989. Czechoslovakia has been divided up and, in the Czech Republic, Václav Klaus’s right-wing government is in power. Karel Vachek follows on from his film New Hyperion, thus continuing his series of comprehensive film documentaries in which he maps out Czech society and its real and imagined elites in his own unique way.
What Is to Be Done? A Journey from Prague to Ceský Krumlov, or How I Formed a New Government
Art Direction
Quite a few years have passed since November 1989. Czechoslovakia has been divided up and, in the Czech Republic, Václav Klaus’s right-wing government is in power. Karel Vachek follows on from his film New Hyperion, thus continuing his series of comprehensive film documentaries in which he maps out Czech society and its real and imagined elites in his own unique way.
What Is to Be Done? A Journey from Prague to Ceský Krumlov, or How I Formed a New Government
Screenplay
Quite a few years have passed since November 1989. Czechoslovakia has been divided up and, in the Czech Republic, Václav Klaus’s right-wing government is in power. Karel Vachek follows on from his film New Hyperion, thus continuing his series of comprehensive film documentaries in which he maps out Czech society and its real and imagined elites in his own unique way.
What Is to Be Done? A Journey from Prague to Ceský Krumlov, or How I Formed a New Government
Story
Quite a few years have passed since November 1989. Czechoslovakia has been divided up and, in the Czech Republic, Václav Klaus’s right-wing government is in power. Karel Vachek follows on from his film New Hyperion, thus continuing his series of comprehensive film documentaries in which he maps out Czech society and its real and imagined elites in his own unique way.
What Is to Be Done? A Journey from Prague to Ceský Krumlov, or How I Formed a New Government
Director
Quite a few years have passed since November 1989. Czechoslovakia has been divided up and, in the Czech Republic, Václav Klaus’s right-wing government is in power. Karel Vachek follows on from his film New Hyperion, thus continuing his series of comprehensive film documentaries in which he maps out Czech society and its real and imagined elites in his own unique way.
New Hyperion or Liberty, Equality, Brotherhood
Writer
From the behavior, discourse, and appearance of individual actors, Vachek composes, in the form of a mosaic, a broad and many-layered film-argument about Czechoslovak democracy in the period of its rebirth, all administered with the director’s ini­mitable point of view.
New Hyperion or Liberty, Equality, Brotherhood
Director
From the behavior, discourse, and appearance of individual actors, Vachek composes, in the form of a mosaic, a broad and many-layered film-argument about Czechoslovak democracy in the period of its rebirth, all administered with the director’s ini­mitable point of view.
Nový byt
Screenplay
Nový byt
Story
Nový byt
Director
Elective Affinities
Screenplay
Documentary showing the Czechoslovakian political landscape in March 1968, when president Antonin Novotny, a hardline Stalinist, stepped down and moderate communist Ludvik Svoboda was elected. Five months later, in August 68, the Prague Spring would end with the military intervention of the Warsaw Pact.
Elective Affinities
Story
Documentary showing the Czechoslovakian political landscape in March 1968, when president Antonin Novotny, a hardline Stalinist, stepped down and moderate communist Ludvik Svoboda was elected. Five months later, in August 68, the Prague Spring would end with the military intervention of the Warsaw Pact.
Elective Affinities
Director
Documentary showing the Czechoslovakian political landscape in March 1968, when president Antonin Novotny, a hardline Stalinist, stepped down and moderate communist Ludvik Svoboda was elected. Five months later, in August 68, the Prague Spring would end with the military intervention of the Warsaw Pact.
Stoletá voda
Screenplay
Documentary about dam rupture.
Stoletá voda
Idea
Documentary about dam rupture.
Stoletá voda
Director
Documentary about dam rupture.
Moravian Hellas
Screenplay
Karel Vachek’s graduate film offers us a documentary essay which is both a light-hearted and aggressive little piece and also a parody of investigative film journalism. The Strážnice folk festival, backed by the cultural Party apparatus of the time, for years had little to commend itself to authentic folklore. In the film the event assumes the form of a bizarre stage spectacle with almost surrealistic elements that Vachek reinforces with unconventional approaches (commentary appearing as titles on screen, singing, declamations into the camera, feature etudes, the fusion of news coverage and fiction). The result is a stirring film collage depicting various characters, from crowd-pleasers, Easter egg decorators, kitsch artists and peddlers, to museologists and local residents, all of whom come up against the eccentric "identical” twin reporters Karel and Jan Saudek and a bored actress who appears as an extra. Using their special blend of irony and wit, they present us with the sad truth.
Moravian Hellas
Story
Karel Vachek’s graduate film offers us a documentary essay which is both a light-hearted and aggressive little piece and also a parody of investigative film journalism. The Strážnice folk festival, backed by the cultural Party apparatus of the time, for years had little to commend itself to authentic folklore. In the film the event assumes the form of a bizarre stage spectacle with almost surrealistic elements that Vachek reinforces with unconventional approaches (commentary appearing as titles on screen, singing, declamations into the camera, feature etudes, the fusion of news coverage and fiction). The result is a stirring film collage depicting various characters, from crowd-pleasers, Easter egg decorators, kitsch artists and peddlers, to museologists and local residents, all of whom come up against the eccentric "identical” twin reporters Karel and Jan Saudek and a bored actress who appears as an extra. Using their special blend of irony and wit, they present us with the sad truth.
Moravian Hellas
Director
Karel Vachek’s graduate film offers us a documentary essay which is both a light-hearted and aggressive little piece and also a parody of investigative film journalism. The Strážnice folk festival, backed by the cultural Party apparatus of the time, for years had little to commend itself to authentic folklore. In the film the event assumes the form of a bizarre stage spectacle with almost surrealistic elements that Vachek reinforces with unconventional approaches (commentary appearing as titles on screen, singing, declamations into the camera, feature etudes, the fusion of news coverage and fiction). The result is a stirring film collage depicting various characters, from crowd-pleasers, Easter egg decorators, kitsch artists and peddlers, to museologists and local residents, all of whom come up against the eccentric "identical” twin reporters Karel and Jan Saudek and a bored actress who appears as an extra. Using their special blend of irony and wit, they present us with the sad truth.
Чёрный Прим
Assistant Director
О девочке Ленке, о ее любви к животным, особенно к норовистому коню по имени Прим, которого она спасает от тяжелого заболевания, даже подвергая свою жизнь опасности.
Malíř Kamil Lhoták
Screenplay
A poetic documentary portrait about czechoslovakian painter.
Malíř Kamil Lhoták
Idea
A poetic documentary portrait about czechoslovakian painter.
Malíř Kamil Lhoták
Director
A poetic documentary portrait about czechoslovakian painter.