Eva Kantůrková

Quite a few years have passed since November 1989. Czechoslovakia has been divided up and, in the Czech Republic, Václav Klaus’s right-wing government is in power. Karel Vachek follows on from his film New Hyperion, thus continuing his series of comprehensive film documentaries in which he maps out Czech society and its real and imagined elites in his own unique way.

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The last six months of the life of Jan Palach, who self-immolated to protest against the invasion of Czechoslovakia to crush of Prague Spring.

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Prague at the end of the 14th century: King Wenceslas, his brother Sigismund, the Archbishop of Prague Zbynek and three popes are locked in a power struggle. All lay claim to influence over the Holy See. Jan Hus, a master of Charles University and preacher, feels partly responsible for the fate of the divided church and its faithful, for whom it serves as a role model. He thus attracts the resentment of the powerful. "Jan Hus" is the story of a man who, because of his convictions, faced death in the battle between the opinions and ambitions of ecclesiastical and secular authorities.

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Who is this confident man who, with unusual elegance and surprising professionalism, began working at the reception desks of the highest government and party leaders one day? Where did he come from, what are his tasks, and who entrusted him with them? These questions will be pondered in the film by members of the secret services, important and insignificant minions of the powerful, who are convinced that they know every link in the ingeniously opaque chain of relationships and competences of a centrally controlled state. Before the surprising revelation of the mysterious master of ceremonies living a double life, he manages to pull off one last stunt: a monstrous hoax whose consequences can only be tragic.

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Matylda, who lives in the Czech countryside, is trying to arrange burial plans for her dying husband, Jan. While Matylda hopes to have a funeral for Jan in the small town where they once lived, there are complications. Years earlier, Jan spoke out against the Communist government and was consequently expelled from the town. When Matylda fails to convince a local politician to allow the ceremony, she uses her husband's funeral as a public show of dissent.

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