gudaulin

Otakar Vávra was an experienced and reliable director, originally trained as an architect, and he had a sense of composition, which is evident in this film. He excelled in crowd scenes, and he also had the support of the leadership of Czechoslovak cinema, so no expense was spared on the production, and he had the best actors at his disposal. Indeed, the film perfectly reflects the nationalistic sentiments of the official ideological doctrine of the time. The anti-German sentiment is clearly evident. At the same time, excellent neorealist films were being made in Italy, and modern cinema was clearly heading in a different direction. Of course, this film doesn't have much in common with medieval Czech history. Nevertheless, it's a decent watch. Overall impression: 60%.

American Psycho is one of those films that can be rated from one to five stars. From a technical standpoint, it's a decently crafted piece with good cinematography, editing, and especially strong acting performances, where most of the cast gives it their all, and it's almost a pity that the same level of performance isn't seen in a stronger film. Even in small roles, quality actors like Chloë Sevigny as the secretary shine. However, the problem lies with the content, which, while superficially flashy, is internally empty and decadent - scenes from the high society milieu, nightclubs filled with glamorous beauties and yuppies in elegant squares are typical. In short, it's a kitschy affair that, while somewhat faithfully capturing Bret Easton Ellis' literary source material, is quite indigestible for me. Overall impression: 40%.

Zardoz is a highly controversial film. Rather, it depends on the approach we have to film production and what we expect from this film. It thoroughly breaks established genre conventions and if we approach it as a classic entertaining spectacle, it will inevitably end badly. It is, in a way, an experiment that is difficult to find parallels to in world film production. Its value lies in its originality and uniqueness, as the commercial effect of a work like this is insignificant and it is more suitable for film festivals or film clubs. It is a dystopian spectacle about a bleak post-apocalyptic world where the elite have decided to isolate themselves from the outside world. The plot is confusing, and the screenwriter and director do not cater to the viewer and burden them with a mosaic narrative style and philosophical implications, making it harder to consume. Sean Connery came to the lead role reluctantly, like a blind man playing the violin, as he simply needed money back then. He didn't understand what the film was really about, and it is a very unique thing in his filmography. It really isn't another Bond film. Overall impression: 80%.

An excellent comedy that draws from a perfect understanding of the Czech "little man" and the vices that were prevalent during the era of building "real socialism." It's a deep study of provincialism spiced up with plenty of mostly well-functioning jokes. A timeless classic of Czech television screens that, for me, will never grow old. On the other hand, it's a specifically Czech theme, because when the film was screened at festivals in Western Europe, the majority of references went over the heads of the audience, causing the film to fade into obscurity. Overall impression: 95%.

Jan Švankmajer considered the so-called gothic novel as one of the starting points of his work, and its elements appeared in a number of Švankmajer's pieces. In The Castle of Otranto, which is both an adaptation of the original gothic novel and a charming mystification, this inspirational source manifests itself perhaps most strongly. It's a humorous affair that seems to have been partially inspired by the theater of Jára Cimrman. Overall impression: 90%.

In its time, this film was something like a revelation to me. Thanks to it, I became, when it already seemed that I would finally grow up, a dreamy child again, much to the displeasure of everyone around me... I discovered the works of Jan Švankmajer thanks to it and became a big fan of his. In this film, Švankmajer capitalized on the previous two decades of his artistic work and experiences from his early short films. It is surrealism in its purest form, where it is not so much about the story, but rather about the barrage of artistic installations, artifacts, and ideas, as well as avant-garde animation that pushed the boundaries of what was previously known and possible. The elevator ride impressed me the most with its passing floors filled with a variety of strange creatures and plants created by Švankmajer. He devised an entire alternative world and used old illustrations from Brehm's "Life of Animals" and 19th-century encyclopedias as a starting point for creating creatures that seem to come from a fantasy world. Švankmajer's wife, Eva, also contributed to the film's artistic aspects. Overall impression: 100%. I have seen four more versions of Alice to this day, but none came close to Švankmajer's...

Jan Švankmajer has directed plenty of outstanding short films, but Food is my favorite among all those marvelous whimsies. I have a very personal relationship with food; consuming it is my second favorite activity. This film is not only a geyser of imagination and delightful scenes but also a venomous satire on consumerist lifestyles. There's not a single unnecessary scene or shot; it's an original concept with brilliant artistry and animation. Švankmajer has crafted a masterful film that belongs in the top ranks of animated works. Overall impression: 100%.

It can't be said that Blockbuster doesn't contain several decent jokes (my favorite being the one where Ladislav Smoljak, as the director, demonstrates to a journalist how he'll initiate the bombing of a village and his crew takes the gesture seriously). However, compared to the rest of the films on which Smoljak and Zdeněk Svěrák collaborated as screenwriters, it's clearly lacking, and despite the presence of numerous famous actors and popular singers, it resulted in just an average musical that didn't stand out significantly. Overall impression: 50%.

An intimately written and filmed drama depicting three individuals at the very end of the war, which looks at German soldiers and the Czech resistance through a slightly different lens than was common at the time. The film didn't meet with the understanding of the heads of Czech cinema, not only because of the screenwriter's persona, as Jan Procházka fell out of favor shortly after due to the Soviet occupation and his involvement during the Prague Spring, but also due to the subject matter, which humanizes German soldiers and doesn't portray partisans in a flattering light. Excellent performances, with Iva Janžurová being truly outstanding, and it's good for the audience to see her in a different light than being pigeonholed into the usual comedic roles. Overall impression: 95%. A film with sparing dialogue, but exceptionally strong atmosphere that is simply unforgettable.

An extraordinary film by Karel Kachyňa, which the director then had to smooth over with the authorities for a long time, while the film went straight into the vault. A top-notch screenplay that perfectly captured the essence of the era and the regime, and a superbly crafted atmosphere, culminating in the final scene. Excellent casting led by Jiřina Bohdalová and Radoslav Brzobohatý. It is simply a unique, although somewhat oppressive experience. This is not a film for pleasant entertainment, but rather a haunting nightmare of recent Czech history. Overall impression: 100%.