Zdeněk Tyc

A father and son have nothing in common except a first name, Richard, and an apartment on a housing estate. The burly, good-natured, 30-something factory worker listens to heavy metal and occasionally lets his girlfriend into his life. The frail, retired teacher, who raised the boy after his mother’s departure, is the embodiment of care and understanding. However, their tranquil, shared reality, which embraces both the hardcore band Našrot and Bergman’s “Cries and Whispers,” is disrupted by the sudden death of the mother. Young Richard sets out on a peculiar initiation journey with bizarre encounters and moments of unexpected enlightenment.

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In the early days of the independent Czechoslovak state, we shared a common history with the Carpathian region. What do we know about the fate of this historically turbulent region and its inhabitants? This documentary aims to refresh half-forgotten facts through the historian and specialist in modern Czech history, Charles University professor Jan Rychlík, author of the book Podkarpatská Rus v dějinách Československa (Carpathian Ruthenia in the History of Czechoslovakia). At the same time, it aims to shed light on the emergence of the Czech nation, which, unlike the Rusyns, rose up from a mass of semi-literate peasants in the 19th century. Not every human community is able to overcome itself, maintain and cultivate its level. This challenge is still relevant today!

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The end of summer in the film also means the end of life. Vladimír Holas dies. Who is Vladimír Holas? Painter, sculptor and teacher of district importance. He painted many beautiful pictures - but not as great as he wished. He wasn't in the party, he wasn't in the Union of Artists, he didn't sell out to the past regime. The house in the beautiful countryside is his last refuge, death is inevitable and he doesn't want to die in an estranged hospital. He wants to crouch standing up, the way he lived.

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On the eve of May Day, a Prague actor’s insistence on “doing the maypole right” sparks a drunken village bet and regretful hangovers as tradition and hometown pride collide.

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The Horváth family is a Romani family with seven children, and the story begins with the tragic death of the father. His wife, Vera, is suddenly in a fight with the authorities, determined to keep her large family together at all costs, but she is hopelessly ill-prepared for the task. They are evicted from their home and her case-Vera versus the city-finds its way to a young, ambitious lawyer. She doesn't know the world of the Romani, nor is she particularly interested in it. Initially she takes the case as a springboard for her career. Despite her prejudices, incomprehension and sometimes Vera herself, she doesn't abandon the case. Luckily she is not the only one who sides with the family. There is a social worker whose attempts to help the Horváths are also motivated by his entirely private interest in the attractive lawyer.

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Teenager Agata lives with her mother Magda, who was fired from her job. Magda decides to go into business, opens a hairdressing salon. However, thanks to a swindler and an unfortunate game of fate, she loses all the money she has invested and the roof over her head. They move to a social hostel, where 14-year-old Agata discovers a forbidden world. While Magda struggles to find a livelihood, Agáta gets involved with a gang on the estate. She tries her first cigarettes, alcohol, experiences theft on trams, violence, fear, but also liberating irresponsibility...

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The idea for the show is based on the genre of stand-up comedy, which is popular overseas but almost unknown in our country. A potential entertainer stands in front of an audience with only a microphone and tries to entertain them with jokes, singing, or skits within a few minutes. The show features well-known Czech actors and entertainers, as well as amateurs "from the street," and together they prove that comedians have not disappeared from our country and that intelligent humor still exists here.

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This title is record of authentic theatre play. The subject is composition of series of real secret records of phone calls between soccer bosses in Czech soccer underground brought to investigation in 2004. The most absurd parts used Petr Ctvrtnicek to compose this performance given in form of text recitation as it were the phone calls while the actors are sitting in chairs in front of audience having the screenplay by hand.

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Film about racial problems in the society, love, family, people and their relations.

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A naive village girl, Valentýna, arrives in Prague and, under dramatic circumstances, becomes reluctantly entangled in the Karlín underworld as a novice prostitute controlled by the slimy gangster Pavouk and his bumbling henchman Milan. She repeatedly refuses the genuine support offered by the incorruptible mounted policeman Viktor Sokol, even as two eccentric observers serve as a choric commentary on the absurdities around them. Through parodic and poetic scenes, ranging from western-inspired mounted police sequences to a surreal “war” over exporting plastic gnomes, the film satirizes contemporary Czech society.

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A Czech-French existential tragicomedy. Its (anti)hero is a young man named Andrej (played by Filip Topol, leader of the Czech underground band Psí vojáci). The story turns on his fateful love for the powerfully attractive though superficial Kristyna (Markéta Hrubesová).

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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.

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Barrandov Studios, once one of Europe’s most modern film factories, became both a cultural refuge and a propaganda tool under Nazi occupation, churning out Czech comedies and romances to keep the public distracted while its actors mingled with German authorities. After the war, many of those same stars faced accusations of collaboration, their meteoric Protectorate-era fame tainted by the compromises they made to keep the cameras rolling under shifting regimes.

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A feature-length distribution documentary about Filip Topol, composer, lyricist, pianist, singer and fighter of the group Psí vojáci, whose work has struck three generations.

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In the early days of the independent Czechoslovak state, we shared a common history with the Carpathian region. What do we know about the fate of this historically turbulent region and its inhabitants? This documentary aims to refresh half-forgotten facts through the historian and specialist in modern Czech history, Charles University professor Jan Rychlík, author of the book Podkarpatská Rus v dějinách Československa (Carpathian Ruthenia in the History of Czechoslovakia). At the same time, it aims to shed light on the emergence of the Czech nation, which, unlike the Rusyns, rose up from a mass of semi-literate peasants in the 19th century. Not every human community is able to overcome itself, maintain and cultivate its level. This challenge is still relevant today!

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The Horváth family is a Romani family with seven children, and the story begins with the tragic death of the father. His wife, Vera, is suddenly in a fight with the authorities, determined to keep her large family together at all costs, but she is hopelessly ill-prepared for the task. They are evicted from their home and her case-Vera versus the city-finds its way to a young, ambitious lawyer. She doesn't know the world of the Romani, nor is she particularly interested in it. Initially she takes the case as a springboard for her career. Despite her prejudices, incomprehension and sometimes Vera herself, she doesn't abandon the case. Luckily she is not the only one who sides with the family. There is a social worker whose attempts to help the Horváths are also motivated by his entirely private interest in the attractive lawyer.

Open details →

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A naive village girl, Valentýna, arrives in Prague and, under dramatic circumstances, becomes reluctantly entangled in the Karlín underworld as a novice prostitute controlled by the slimy gangster Pavouk and his bumbling henchman Milan. She repeatedly refuses the genuine support offered by the incorruptible mounted policeman Viktor Sokol, even as two eccentric observers serve as a choric commentary on the absurdities around them. Through parodic and poetic scenes, ranging from western-inspired mounted police sequences to a surreal “war” over exporting plastic gnomes, the film satirizes contemporary Czech society.

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