Stanislaus

Faithless Games doesn't offer anything story-wise that we haven't seen before elsewhere (and better crafted), but I still don't regret seeing this unassuming film. The performances by Zuzana Stivínová and Peter Bebjak were true to their characters, but I was most surprised by the young Kristína Svarinská – I enjoyed watching her childlike but supremely perceptive view of the events around her. Sometimes you have to gain distance to find that what you've left behind is ultimately exactly what you need in life.

The Word might have been lost in the plethora of period dramas if it weren't for the distinctive performance of Gabriela Mikulková, unknown to me, and the unconventional visual concept. The Word is essentially a very intimate film, with dialogues taking place indoors – the scenes in the notary's office were great. I also liked the incorporation of photographs, which seemed to reproduce the scenes in question from a different perspective. Apart from the serious side, the film is also very humorous, thanks to Mikulkova's quirky acting.

River is a skillfully made documentary, full of beautiful sceneries, enriched by a pleasant soundtrack and accompanied by the mesmerizing voice of Willem Dafoe. Considering the current state of our environment, there is no shortage of environmentalism with the imaginary index finger raised. It is admirable that this project was created during the restrictions due to covid, with the collaboration of people from different parts of the world.

The Kunstcamera takes us out of everyday reality for fifty minutes and leads us into the terrifying, but at the same time magical world of Jan Švankmajer's fantasy, accompanied by the enchanting music of Vivaldi. The collection at Horní Staňkov Chateau is truly rich and is a legacy of the genius of (not only) the Czech leading artist in the field of surrealism. Audiovisual poetry - fanciful, macabre, fascinating!

Madame Guillotine, a love intrigue against the backdrop of the French Revolution, still has a chance to captivate today's viewer, mainly thanks to its spectacular crowd scenes and a fairly believable depiction of historical events. The story mixes romance with history, but it's not entirely bad to look at. I was quite surprised by the restrained performance of Lyda Borelli and the quite matter-of-fact interludes, which are often a source of humor in silent films (in addition to the affected acting of the main characters).

Full Time is a truly distressing social drama whose strength lies in the oppressive everyday life of a divorced mother of two who, in order to survive, paradoxically can barely breathe to keep up with her unenviable hectic life. Watching it makes you feel glad for your "trouble-free" life. Strikes, working relentlessly, self-parenting, almost no personal life, etc. etc. It was a blast! But as they say, "there is light at the end of every dark tunnel".

It's a bit of a shame, but I didn't get to see one of our most expensive and spectacular post-revolutionary films until more than two decades after it was made. Dark Blue World is without question an ambitious project with an international cast that easily stands comparison with foreign films of its time. In addition to the solid technical workmanship, Jan Svěrák's film impresses with its story of sincere friendship and (un)reciprocated love, of heroism and betrayal. This goes hand in hand with the amazing performances of basically everyone involved. I liked the interweaving of the two time planes, making the film more complex and less monotonous at the same time. Perhaps only the ending felt a bit rushed. A Czech Pearl Harbor with a much smaller budget but a noticeably better story.

Royal Tiger is a melodrama with a capital M, dominated by the distinctive performance of Pina Menichelli, a diva with a capital D. The story is quite simple at first glance and, in the spirit of the time and genre, is full of almost theatrical performances. On second glance, however, it impresses with well-constructed flashbacks and breathtaking technical execution, especially at the end. It is also the affected acting and the quirky content of the interludes that make Royal Tiger enjoyably humorous.

Great Freedom is another example of the strong LGBT films being made in German-speaking countries (see Free Fall, Sasha, Summer Storm and The Circle). Sebastian Meise's film stands above all on a strong premsise and the performance of Franz Rogowski. Leaving aside the fact that those 23 years don’t quite show in Hans and Viktor, Great Freedom still offers a pretty believable and authentic story about the plight of (not only) gay men in prison in post-war Germany. The film also cleverly plays with the word "freedom", which in the context of prison doesn't always mean just "space outside the bars". Bars can divide, but they can also unite!

Eliza Petkova's ethnographic documentary gives sad testimony to the disappearance of people in the Bulgarian countryside, using the village of Pirin as a case study, while also giving the film a certain magical touch thanks to the legend of a dragon. We follow the fate of a select few inhabitants who are mostly stuck in Pirin, and the only way out is basically "feet first". Despite the weighty subject and a few potentially powerful moments, I was ultimately impressed by the documentary's mediocrity.