Věra Chytilová

Two teenage girls embark on a series of destructive pranks in which they consume and destroy the world around them.

An experimental retelling of the story of Adam and Eve which then progresses into an allegorical depiction of the loss of innocence.

Philosophical movie, staged at the least philosophical environment imaginable: A closed scenery of a nudist spot, where some hired Czech stuff is making a plain erotic movie for a rich Russian producer. Nothing in this movie is what it seems to be at the first superficial glance.

The Emperor's mismanagement of his country is provoking some in his court to plot to overthrow him. He feels successful, at least, when he discovers the legendary Golem, which he believes can protect him and even cure his imaginary illnesses but, when he disappears while on a bender, his kindly baker, who looks just like him, is mistaken for him, and begins to put things in order. However, the conspirators, not to be outdone, determine to bring the Golem back to life to do their bidding.

Eleven disparate adolescents, gathered for a skiing camp at an isolated winter resort, find themselves preyed upon and set against one another by their three mysterious instructors.

Bohus is indolent and spends his days drinking brandy. One day he finds he has inherited a brickworks, several shops and a five-star hotel. Bohus sets out to tour his new empire, insulting everyone on the way.

An old man is wandering round a badly signposted and as yet mostly under construction Prague housing estate looking for the high rise block into which he is supposed to be moving with his daughter's family. The old granddad from the countryside likes chatting, nothing escapes his eyes and he wants to give everyone a helping hand.

In her first feature, Věra Chytilová uses a combination of documentary and fiction film techniques to tell two stories in counterpoint. The first follows Olympic champion gymnast Eva Bosáková, who contemplates retirement as she undergoes a gruelling training schedule; the second, a housewife who is unappreciated and ignored by her husband.

A striking generational tragicomedy, A Hoof Here, a Hoof There is a caustic group portrait of pals who enjoy a tipple, all kinds of hi-jinks and no-strings sexual adventures. Auditor Pepe, vet Dědek and restaurant manager František are financially secure and enjoy life with their similarly fun-loving girlfriends—at least until the moment when the brash Pepe collapses and ends up in hospital.

After two troubled but powerful men rape a young hitchhiker who happens to be a vet, she drugs them and removes their testicles.

An intellectual match between two dramatically different artists, one permanently unsure and frustrated and questioning everything, the other an astonishing storyteller perfectly at peace, unacquainted with introspection and reliant on intuition.

Hana is a psychologist and a thoroughly independent woman. Her unemployed husband, jealous of his wife, finds a younger girlfriend, but their teenage son Honzik is frustrated; everyone ignores him. Hana's patient Eva, an attractive middle-aged woman, is having problems with her 25-year-old son; she is in love with her son's friend and her son is offended by her behavior. To complete the circle, he falls in love with Hana and Honzik is utterly disgusted by their affair. Another of Hana's patients is Dub, a millionaire who can have pretty much anything, or anyone, he wants. He wants Hana. But he can't have her.

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.

Sarcastic comedy about the Czechoslovakia of the seventies. A young gynaecologist can't figure out whether to get serious with a young nurse or to stay casual with his married lover. Things get complicated when both women don't want to play his game anymore.

A bachelor named Faun with a Don Juan complex, seized with a hypochondriac's fear of the ineluctable approach of death, enters a race against time's passage. Faun's sexual love is imbued with the narcissistic vanity of a self-satisfied bacchant who even towards old age can't manage to forgo his lifelong pose as an irresistable seducer of women. He desperately searches for meaning in superficial, fleeting sex.

Funny banter about love, sex, social status, and other ideals, while a new railway employee is trained and sent on his first run as driver.

The movie is a satirical look at foreign occupation - a medieval Czech jester entertains a German king and his French wife, or a modern Czech villager helps a Bavarian hunter and his French wife find wild boar in Bohemia - the story switches back and forth between the two plots and time-periods.

The Soviet advance met with fierce, idealistic resistance. We join the hundreds of students as they man barricades constructed from overturned lorries to try to halt the advance. Sparsely armed, they fight fiercely, driven by a belief in their new and better socialism. But the deadening, inevitable weight of Soviet might soon stamps its boot across this hopeful Czech vision. Over 100 people died in the reprisals which followed, and tens of thousands fled their homes for the West. This is the definitive story of the heady days before Soviet "normalisation" took hold. The film was assembled using footage smuggled out of Prague. What began as an account of the liberation of a people, became a documentary of oppression; as the tanks moved in, the cameras simply continued rolling.

Eva is a new member of a girl's boarding school and textile factory. She looks up to the free-spirited Jana who struggles against conformity and discipline. Jana's conflicts with the staff and other girls have consequences for all.

A fictional story of Wolfgang Amadeus Mozart's stay in Prague. The film, in no case, claims any historical facts. It only tries to evoke the spirit of that time by connecting Mozart's music with the architecture of Prague and by pointing up the changes in Prague during Mozart's two-hundred absence in the Czech metropolis.

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.

A quintet of vignettes based on short stories by Bohumil Hrabal: an eventful trip to the motorcycle races results in drunkenness, long-winded discussions, and death; two elderly men create false biographies; insurance agents visit an eccentric painter/goat farmer and his mother; guests at a wedding reception remain oblivious to outlying misery; and a working-class boy romances a Roma girl.

The employees of the furniture company MARS welcome a rare visitor with hired music. Their boast that they would put together an orchestra is taken seriously, so they receive a small gift - musical instruments for thirty musicians.

Ester Krumbachová - a costume designer, screenwriter, director; one of the boldest personalities of the Czech New Wave. She worked in theatre, she was a writer and an illustrator. She co-created films such as O slavnosti a hostech (1966), Sedmikrásky (1966), Vsichni dobrí rodáci (1969), Pension pro svobodné pány (1968), Valerie a týden divu (1970), Slamený klobouk (1972) and many others. In the 1960s, she was a 'pivot' of the art scene in Prague, attracting artists who were on the threshold of their career, just setting out to find their own form of self-realization. Those who underwent her tutelage remember her forever. Director Vera Chytilová talks to those who knew Ester Krumbachová, who worked with her, befriended her, loved her. She sets off on a search that is to end by answering the question: Who was Ester?