NinadeL

Is this a feature film or a docudrama? Somewhere at the beginning of the new fad of Czech cinema is this Sedláček film, which is followed by things such as Polski film or Lost in Munich. Do we really need this?

A Czech plasterer vs Czech whore in the realities of Czechoslovakia. It's a nice idea. The eccentricity from the period reality and the musical inserts create a truly Dadaist collage. Yet if it weren't for the emeritus Oldřich Nový and Jiřina Šejbalová, who fell in love with Menšík's humor ex-post behind the scenes, I wouldn't appreciate the retro flicks about the First Republic.

I have a rather futile feeling about the simple fact that in essence, Michal Hrůza's eponymous video clip is a better watch. However, some of the sub-elements contained in this work are worthy of attention. This means that even Hřebejk's theatrical diary serves only half the purpose. But it's still a much better experience when I think of the dysfunctional Garbage, the City and Death.

A family polygon of life and about life as it is. As a bonus, there are two successful cameos by the then-award-winning young prodigies Geislerová and Hádek. This is very good for viewers used to interacting with film.

This is the most emotional film of the golden 1990s. Pure gold at the end of the wildest decade of Czech cinema. Perhaps for the first time, I appreciated Dostoevsky's hero, because this one, transplanted entirely into a new context, is still the same, but all the more immortal.

It is a fact that this little film of Kučera's was almost lost, and years later, the casual viewer would no longer be able to distinguish it from all those other futile genre attempts. But Kučera was brave enough to make one more film. That means we'll never forget him.

The year 2000 was interesting for Aňa Geislerová in terms of foreign productions, but the final balance is very weak. She starred in this silly crime drama alongside Danica Jurčová and Monika Kvasničková as models, while also managing to be in an episode of the German series Geisterjäger John Sinclair and another bland role in the film England! This leads to the fact that the only Czech production with Aňa from that year has blossomed above all else and is sweeter than ever with this knowledge.

Twenty years after its premiere, it is finally possible to return to War of Colours in a reasonable format and enjoy everything I love about Czech films from the 90s. All the discoveries of the Western style of storytelling, all the montages and clip passages, the attractive setting, the ingeniously written roles for the local actors, and the unique feeling of that high when even little Aňa with a blonde wig could conquer the world. Her wonderfully childish dialogues about first love, betrayal, and the big world are a treat to listen to. Of course, the modeling environment also does its job, and also the well-chosen (not only) Prague locations. The worldly Hanák is also absolutely great, even better next to the homely Vaculík. Ah, the golden '90s!

At the time, I found "Lady Marmalade" to be the only track on the Moulin Rouge! soundtrack to be unsatisfying. But as a standalone burlesque video it's good, and from today's perspective it's certainly interesting that only Aguilera and Pink survived.

A cute family film based on classic children's literature, which has not yet taken up residence in the Czech Republic. The stories of the teddy bear from darkest Peru are, after all, too closely linked to London and colonial poetics. Filmed very skillfully, it bets on certainty and fans will be attracted by a wide star spectrum that includes Nicole Kidman and Gwen Stefani. Kidman is betting on a new variation of the villain she last tried in The Golden Compass. Her new straw-colored mikado and perverse tendencies suit her with a naturalness that is all her own. And Stefani sang a new song with Pharrell for the credits to remind her listeners that she's a mom herself. All in all, this is a genre surprise that I can recommend.