Karel, én és te

The film’s story's is trivial and it deliberately fails to take advantage of the offered love triangle potential. From beginning to end the film remains exclusively in a genre-non-specific form, definable as an essayistic conversational drama about conversations about love, life and relationships. The contemplative discussions of the characters take place mostly in the spirit of friendly chatter over a beer with a touch of light philosophizing. At first glance the film is slightly hampered by its apparent cheapness (minimal budget, absence of lighting, visually unattractive image), which is fortunately compensated by the directing and screenwriting maturity of the film’s promising creator, whose strength is emphasis on naturalness and authenticity of the acting and dialogues based on life observations, thanks to which a sympathetic, small authorial generation film was created. (2019.06.30)

What I find good about this weird film is that it stars Jenovéfa Boková and no animals were harmed. Well, that’s about it. I did not notice any kind of plot, just endless philosophizing about relationships accompanied by drums. Over time, all that useless claptrap and drumming started getting on my nerves, and given how bored I was, the film was disgustingly long. (2020.08.07)

Bohdan Karásek is for me a wonderful discovery in the field of Czech cinema. I already found his medium-length pictures Love Songs and Lucie very intriguing, so I was really looking forward to this conversational relationship movie. High expectations often lead to disappointment, but I am happy to say that this is not the case. It’s not often that you get to see a movie so real and at the same time so clever. Moreover, it has the wonderful charm of an authentic message. Some of the dialogue exchanges could be set in stone. Even from the acting point of view, it's a great show. (85%) (2023.04.06)