A poetic film about a dove getting lost on its way to Prague getting shot down by a paralyzed boy. An artist who finds the dove becomes friends with the boy. Together they take care of it bringing it back to recovery.
Lemuel Gulliver (Lubomír Kostelka) has had a car accident and continues his journey across the unknown countryside on foot. On the road he finds a dead rabbit dressed like a man and takes a... See full summary »
One of the most important images of the Czech New Wave 60s, which was ranked among the top ten domestic films of all time. Feature debut screenwriter and director Ivan Passer is currently ... See full summary »
A man closes up a lecture hall; he reaches into a box and snips the string holding a gaunt puppet. Released, the puppet warily explores the darkened rooms about him. Screws twist out of ... See full summary »
Loosely based on the Mesopotamian "Epic of Gilgamesh", here Gilgamesh is portrayed as a grotesque, Picasso-esque being who uses a tricycle to patrol his box-shaped kingdom that hovers above a dark abyss.
A magnet moves on a floor. A moth beats against a window. A doll child watches the magnet; threads of metal filings gather around the magnet. The doll, who's sitting at a table, looks in a ... See full summary »
Sunny is the singer of band trying to establish itself in the music-scene of East-Berlin. They play regular gigs in small towns, but Sunny feels out of touch with the audience and her life ... See full summary »
A never-before-seen woodsman mysteriously appears aboard a submarine that's been trapped deep under water for months with an unstable cargo. As the terrified crew make their way through the... See full summary »
Excellent film. It's important to say that the film is not really known in Czech republic. I saw it recently on TV, as the film based on Juracek's diary ("Klíc k urcování trpaslíku podle deníku Pavla Jurácka"). It make us understand that his work was very very difficult under the communist regime, he was excluded from the national film committee and the fact that he could direct a film like "Postava k podpirani" appears like a miracle. The film itself opens into a really strange universe (references to Kafka are obvious but quite personal), so close to real 60s' in Czechoslovak society. The film form is very free (treatment of space, montage, very exceptional use of the sound !). By facilities, Juracek is sometimes associated to the new wave (nouvelle vague), but I think that his quite personal universe and cinematographic style make him stand apart of any movement or "style school". He remains a hero, one of the artists whose life and work was broken by political power.
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