FAMU

Short musical comedy from Tomas Vorel.

The young Marta has made a break in her medical education to fully invest in her career as a model. We follow her for a day in her life, almost completely without hearing her voice. It is seldom that Marta gets the space to speak, instead she is mostly subject to the voice of others.

In this six-minute short, a man’s attempt to burgle a home is interrupted by a child.

Symbols and political analogies abound in this dramatically frustrating first work by a recent film-school graduate. In the story, Vojtech has survived World War II in a Czech prison following an unjust sentence. Now he is free, and the world is full of possibilities.

A character from a musical film falls into the real world in this short, predating similar films by Woody Allen (The Purple Rose of Cairo) and Wojciech Marczewski (Escape from the 'Liberty' Cinema).

Day in the life of teenagers.

In a rare instance of literary adaptation, Chytilová was inspired by Franz Kafka’s writings. Mr. K stashes stolen jewelry away at home and seldom allows his wife to wear it. A nosy neighbour, Mr. B, drops in. A cat observes it all.

Young Eugene from the provinces travels to Prague in search of fame. Once there he gets an offer to write engagé lyrics for pop songs...

The initiation of a young Jewish child into Guernica's world.

Final train station turnes out to be something much more different...

Three separate short stories by Jan Drda from the collection The Dumb Barricade: The Dynamite Watchman, Hatred and Traces.

The new pub patron is advised to take a stew. He asks for its recipe from the hostess, but she refuses. Then he sneaks into the kitchen and peeks into the freezer, discovering a horrible thing.

A zoologist and a biochemist go out into an oilfield with a cameraman and filmmaker to observe and study the elusive oil gobblers.

Hrích boha (God's Sin) is Agnieszka Holland's poetic vision of the world as a trap, based on the novel by Isaak Babel.

A student work by Jiří Menzel, filmed during his second year at the FAMU film school. Views of old Prague and its tenement buildings, symbolizing the obsolete past, alternate with shots of construction sites for new prefabricated apartment buildings. In spite of certain unavoidable propagandistic overtones added by the director, it is notable as the beginning of his search for a “dramaturgy of colors.”

A tram pasted with posters travels through Prague. The mounted loudspeakers invite passers-by to a series of concerts of Giuseppe Verdi's masterpieces. On the tram a party of young people is getting drunk.