Stanislaus

Subway could be considered a textbook example of French neo-baroque in film, as it exhibits almost all the characteristic features of this artistic movement. The film comes across as one long and very colourful clip, in which we are introduced to bizarre characters for whom harsh words and hits of violence are the order of the day, while the plot is, as the title suggests, set in a subway, which creates the strange atmosphere of a convoluted maze in which different characters pass by to confront each other, all with a haunting musical score. In short, a solid and brisk film that I can highly recommend.

An unconventionally made film for its time, reveling in a large number of details of completely unvarnished faces to further emphasize the suffering and hopelessness of the situation depicted. The Passion of Joan of Arc is a timeless film that can appeal to today's viewer, thanks in particular to the cinematography and the excellent acting of Maria Falconetti. One of the jewels of the silent era of cinema, which still commands respect in today's over-modernised and digitised age.

This 30-minute excursion into the twisted soul and thoughts of a lecherous priest who lusts after a general's wife is a very graphic example of a film from the French film impressionism era. The abundance of visual effects and the emphasis on capturing the moment in the form of impressions make The Seashell and the Clergyman an exemplary work of its time that deserves attention, even if it didn't capture my full interest as a viewer. In short, a film that is historically and artistically worthy while being bound to a fairly limited audience.

Citizen Kane is undoubtedly one of the gems of world cinema, and even though I am not giving it a full score, because I have seen (subjectively speaking) better films from the last century, it still deserves my admiration. From a technical point of view, this film is really well made, and there's probably no point in mentioning here the work with space, depth of field or cinematography - suffice it to say that in this respect Citizen Kane is a progressive film. As far as the plot is concerned, it is a very well-written story, told from multiple perspectives and inviting the viewer to take an active part in deciphering the mysterious word "rosebud". In short, a gem of world cinema, where perhaps only the running time and the expectation of something (relatively) perfect prevents me from giving it a full score.

I always have a perception problem with poetic films, which may (or may not) be reflected in the rating, but Shadows of Our Forgotten Ancestors failed to win me over as a viewer. The cinematography and the scenes depicted are indeed beautiful and colourfully stylised, but that's about all that appealed to me about it. To be honest, I don't even know what to write about the film, because nothing has stayed in my head. In short, from a historical and artistic point of view, it is undoubtedly an unforgettable piece of filmmaking, but despite its qualities it did not impress me.

One of the prime examples of the British New Cinema movement, it features many of the characteristic elements of films of the era: a young working class rebel in the lead role, trying to stand up to a society he clearly despises, all without a bit of violence or strong language. As a result, I wasn't too impressed with it; to be honest, I rather took it as a textbook example of British “new wave”. In short, one of many films that, despite its value, went beyond my viewing horizons.

This time I was somehow unable to get into what Švankmajer was trying to convey, so with this short film I am able to appreciate its technical values rather than its narrative quality, which is undoubtedly there, but somehow passed me by. In short, it is one of those films that is nice to watch, but only captivates a certain group of viewers, which unfortunately I am not one of.

School for Fathers is one of several problematic social-critical films from the 1950s that were dealt a cruel blow by the Bánská Bystrica Conference when it was banned in 1959. Fortunately, today it is not difficult to access this thematically sensitive film. The ideological conflict between an individual in the form of a thoughtful and spirited teacher and a society that tries to suppress any hint of rebellion can still captivate today. This film has both an attractive theme and an excellent performance by Karel Höger in the lead role, and I would also highlight the smaller role of Ladislav Pešek. In short, a very bold film, which was unfortunately made in a time that certainly did not favour films of this kind.

Kristián is one of the few Czech comedies of the 1930s that I have seen, but it is a very good and engaging film that can appeal to today's audience - especially with its likeable cast and intelligent humour, which is of a high standard and does not feel awkward or annoying. Also, the story and the plot are not from generic and make a solid impression. In short, it is one of Martin Frič's many comedy pieces that will not be lost in his wide range of films of varying quality.

The Party and the Guests is a very unconventional film that is certainly not lost in the field of parables in 1960’s Czechoslovak cinema. The constant presence of a kind of absurdity and the endless asking of the question Why? How? Where? When?, to which perhaps there is no clear answer – this film plays with the viewer and leaves them free for interpretation. All in all, a noteworthy piece of filmmaking, which, although it didn't impress me as much as other users, I can still recommend.