Populär Vun Czech Republic

1980 Czech experimental short by Petr Skala

1980 Czech experimental short by Petr Skala

1977 Czech experimental short by Petr Skala

1979 Czech experimental short by Petr Skala

1977 Czech experimental short by Petr Skala

1973 Czech experimental short by Petr Skala.

1971 Czech experimental short by Petr Skala

1970 Czech experimental short by Petr Skala

1969 Czech experimental short by Petr Skala

Part police procedural, part mood piece, the only thing that's clear in Czech director Martin Zivocky's strikingly stylized film noir is that nothing is clear.

Holidaymakers at a public pool on the river at the Černošice summer resort. The film was produced by Illusion, a company established at the beginning of World War I in Prague. In addition to film news and documentary films, it also produced film dramas. Most of its production is considered lost.

Creatively paraphrasing the work of Wilhelm Reich, the filmmakers have created a 3D animation of various objects, colored by theoretical considerations on the fetishization of goods and possibilities for liberating ourselves from the desire to amass property.

In 1932 Hammid bought a handheld camera Bell-Howell and made his second film, Na Pražském hradě [Prague Castle], in close collaboration with the composer of the sound track, striving for an organic intertwining of image and music.

In the far, far North, where the day begins and the oceans meet, a small hamlet New Chaplino is situated. The government decided to turn the village into a tourist resort. It is winter, 30 degrees Celsius below zero. The tourists are not coming. There are only few memories of them and the snow has already covered their footprints. A documentary about the tourism influence on original ethnic groups that haven’t been affected by civilization so far and about the changes of how they experience their own culture. The documentary takes place on the Russian far north – in the Chukotka region.

The generation conflict present in the daily disputes of a grandmother and granddaughter, the film director, lead to her decision to leave; the compact images of the gradual moving out of the house, bound by place and time, and the long, agonizing dialogues become a basis for the cruelly intimate documentary within private reality, where feelings mingle with reproach; and where, despite mutual blame, nobody is guilty, as the captured situation is accompanied by nothing but misunderstanding.