NinadeL

If we disregard Soukup as the father of teenage normalization cinema, we can find a number of interesting works in his filmography. Soukup was able to grapple tastefully with Arbes, Pushkin, and Casanova. And that's really not a small thing. I would have liked the original idea of doing a loose series of historical duels, but even just two stories combined in this film is very good. For a viewer who doesn't regularly read Pushkin, it may be surprising to learn how different the original story is and how it was able to elicit some of the best performances from actors of a weaker caliber today (Adamovská, Kuklová, Vaculík, Bartoška, Vašut). In the second half, the subtly indulgent Boris Rösner reigns supreme as Casanova, and I enjoy it. People are amazed and experts wonder, but the spicy girls also include Bílá, Chytrová, Kretschmerová and Sajfertová, and it works perfectly. The late era of cooperation between the Federal Security Service and Wiesbaden is simply too good.

Elfriede Jelinek's work is better known outside the wave of interest generated by the Nobel Prize. Enough time has gone by at this point. But it's hard to imagine the buzz generated around this art film without a connection to the buzz around the Nobel Prize. It's cyclical, which is actually a shame. The Piano Teacher deals with topics that should be discussed but are not. It is fascinating that something as simple as a mother-daughter relationship can turn into something so complicated and devastating.

Dev Patel has come a long way from the nerdy from the slum, Rooney Mara surprised us with her civility, and Nicole Kidman reaffirmed her skill and the weight of her stardom, which very often provides a compass to quality cinematic experiences. I took a deep breath and slowly returned to the roots of my love for Indian cinema, inspired by a series of dramas in the same vein as Lion. If you're not indifferent to pathos and consider the story to be the center of the film narrative, you've come to the right place.

The rather gloomy first film was replaced by a pure fairy tale, which is the best solution to develop the potential of Goat Story. Ideally, the new characters teamed up against evil with the classic trio of Long, Wide and Sharp-eyed, which I welcomed.

Goat Story: The Old Prague Legends is not as bad as it might seem. Lábus' quality dubbing gives the whole story a touch of irony, which is fine. I wouldn't have thought it necessary to worry about the influence of Goat Story, in that it might become normative for other Czech animated films - which it didn't. So, as always, it's about calming the hormones and looking forward to the sequel.

It's not a bad film, because the classic humor and style are retained. I don't like wrestling, of course, but if the classic episodes The Engagement Ring (1.9, 1960) and Take Me Out to the Ball Game (2.32, 1962) are included on the DVD as bonus features, then that makes me happy.

"It might be better, therefore, if there were another episode, an episode zero of Bohéma, from the time of freedom, joy, free-thinking, and Avant-garde, so that we could see the walls grow from nothing. But I only know that now. I didn't know that when we started filming." With this quote from my interview with Robert Sedláček, I finally understood the whole story of Bohéma. He didn't know anything about that time, then he filmed it and only in retrospect did he develop an idea about the subject. This is a very sad calling card showing the arrogance of the creators to handle substances of a non-banal nature.

How can I put it more succinctly than that this hasn't brought joy into my life either? These intimate, endless dialogues full of mirroring of relationships between characters and creators without a single note of instrumental music are challenging, but serve no purpose other than relief. It does come in the last scene, but again the question is: at the expense of what? The endless variations on Bergman's favorite actors, the endless variations on his favorite themes...

This is pretty much a traditional teen comedy about how boys and girls graduated from high school and how a single party messed up their lives. The film stars posh lady Jenn Love, and she's learned a lot since then, but even then she had her proverbial chops. In supporting roles, we find the likes of Melissa Joan Hart, Liv Tyler, and Selma Blair. Classic 90s in full swing. So if you're from that generation, go ahead and watch it.

If these shows are structured in such a way that they just illustrate the commentary that a person prepares about himself, then that's fine. Who better to talk about the childhood, private life, and marriage of this or that actor than he himself? I'm glad Studenková got this opportunity. Her work is very eloquent and her guest appearances in Prague studios have always lit up films. Today, I am retrospectively filling in her Slovak roles and I am satisfied. Studenková is an ideal representative of the generation when Czech-Slovak music made sense. Today, surprisingly, this appears as something new, but it is not.