Jan Strejcovský

These are the funny, crazy, or surreal stories of those who make art and those who buy it, amid canvases, giant ready-made artworks, and performance art moments traded for a sum of money written on a piece of paper. But where is the line between art and commerce? And what does the public gain from all this?

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The eponymous debt collection call center’s marketing slogan is taken to its extreme, depersonalized operators are roused from their lethargy by unbridled laughter. Not mockery, but pure, contagious laughter at the tragicomedy of trapped debtors, its echo tearing apart the operator’s apathy and the walls of the claustrophobic open-plan office.

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What does a drone pilot operating on a peacekeeping mission in an unnamed country see on his monitor? We are slowly getting used to the stream of variously distorted images of so-called strategic targets. Along with the ability to see human beings, animals and landscapes in crumbling shapes, sensitivity to who is watching is increasing. The poem Three Economic Units by Tomáš Čada is the source for the film.

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Jirka and Aneta are a young couple who enjoy the routine of their quiet relationship and are in no hurry to make big decisions in life. One night in their inherited flat, the doorbell rings and standing at the door is Jirka’s mother Valerie. An initially brief call turns into a never-ending visit from an intense and caustic diva whose presence fundamentally disrupts the couple’s privacy. Certainties are shaken, boundaries broken.

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Psychologist Eliska contacts musician Martin with a request for him to perform at an event on mental disorders. Their intense relationship ends with Eliska's suicide, which will resolve long-lasting pain without cause. She flew through Martin's life like a spaceship. She left clothes, things, a farewell letter. But also memories, dreams and eternal encouragement to play. She's still with Martin. Like a memoir, as a gratitude for the experience, like a muse.

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