Tibor Michalčík

Как джойсовский Улисс, потеряв все, что было ему дорого, не может укорениться ни в своем городе, ни в своей семье, так и трое героев этого фильма, трое сирот, однажды уже обездоленных войной, где погибли их родители, ищут убежище подальше от людей и пытаются найти забвение в странных играх в безумие.

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.

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.

"Using the same, three times repeating dialogue – dramatic conversation between man and woman – Jerzy Skolimowski from Poland, Slovak director Peter Solan and Czech director Zbynìk Brynych shot three different stories. The result was an extraordinary experiment in the world cinema, which we can call an insight in the relationships of men and women of different age groups, an analysis of love and marriage of those who are at the beginning, in the middle or going towards the end of their life."

A comedy about five students who are un-justly suspected of trying to lose their virginity before their graduation. The five girls first try to defend themselves, but when they find out that nobody believes them - neither the school principal nor even their own parents - they decide to accomplish what they have been falsely accused of. And although their clumsy attempts are mostly comic, at one point they almost cause a big tragedy.

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.