NinadeL

Go Back to Your Grave! has matured. We can watch the pre-graduation classes through various lenses throughout the decades of Czech film and each time we experience something new with them. This time Pawlowská took up the topic on the basis of a sociological experiment. Surrounded by the agile Dušek and the lax Vala, Šteindler literally turns around the collective of Klára Pollertová, Monika Šeligová and other beautiful ladies under the age of twenty. He may be only slightly over thirty himself, but that doesn't stop the young romance, the substantial jokes, and the discovery of a new joy in life.

The most recent Craig film thus far is a very enjoyable part of the Bond franchise. A great opening reminds one of Live and Let Die, the first girl is the pleasant Monica Bellucci, the second - her complete contrast - Léa Seydoux (the fashionable Frenchwoman we primarily know for her blue hair), but the time period mainly favors Christoph Waltz's styling. Spectre flows nicely, developing the story already begun in Casino Royale, and I'm simply glad that James Bond will return.

Jireš's filmography, imbued with an unmistakably fragile imagination, is a comfort to me even when I feel I am losing faith in the likes of Kachyňa. Prodloužený čas is a film I've always been comfortable with and it just gets better as time goes on. The author, who is able to make a poetic and literally beautiful film about Maruška Kudeříková, is naturally excellent in the whole human story, which tells a story about human trials that provide natural moments such as mortality or falling in love on the basis of lectures from the history of creative arts.

The late Vláčil is not exactly ideal, but in the context of the time it is fitting to compare Mág to Jireš's Lion with a White Mane, for example. Taken together, both of these biographies are something we should spend time with. Jiří Schwarz supported the realism of the role by losing weight, Veronika Žilková by studying the states of the tortured soul of the director on the set, and Vančurová and Hrušínský have never recited better. The scenario told retrospectively is also a pleasure. I, therefore, cannot agree with the opinion that this last entry in Vláčil's directorial oeuvre is weak; on the contrary, I value Mág above a number of other films.

It's been a long time since I've enjoyed Hřebejk so much. Slovakia is very good for him. His kindly bittersweet retro no longer offends, but only connects the past with the present. In fact, we had these lovely stockings at our place too.

I already like a few films from Balík's filmography, and I can easily count Lovers in the Year One among them. In general, I suffer from the lack of period sets when films are set in a specific past (here we have 1945 and 1946, for example), but a few interesting formal ideas for the opening and the framing of Otčenášek's story with documentary footage from the Prague Uprising set the stage for the romance between the fragile Vančurová and the mentally unhinged Preiss to play out in a timeless rather than historical plane. It has an interesting approach, an interesting romance, and the nice idea to combine the love of a partner with the love of cinema.

Based on the poetics of Alain-Fournier, this is probably Kachlík's best film. Unfortunately, the book and the movie of the same name have been forgotten for years. The film was last appreciated when it was created in San Sebastian. It’s a pleasant surprise from the early 1980s. A tasteful period piece with interesting adaptation and well-led actors. We can really only hope for more reruns of it on TV.

Back in the 1950s, Mach made films that worked at least within a certain category. Later it was more or less not worth talking about and this is his swan song. It’s better if you don’t watch it. A cohort of Prague actors with a strange dialect in a village slapstick on the theme of family cohesion, which is most important of all. Unfortunately, the ceiling was high.

The best part of it all is the final headline: "In 1980, the Film and TV School of the Academy of Performing Arts management promised the filmmakers that it would look for an outlet for the film. After the student strike in November and December 1989, it succeeded."

Who Looks for Gold? is the grandest of the grand. You can but look and revel in the smallness - these are the highlights of life lined with dinner, coffee, and sitting in front of the TV. These are the black rides, the stolen materials for the villas outside Prague, and in all of this Honza Hrušínský, who found himself in those quality young men and continued all those romances from the present. Ah, the golden normalization era. Menzel spins it poetically and Svěrák puts such wisdom into the mouth of the main character that it's not even satire anymore.