Jan Zadražil

Charming 60-something José returns to Prague after 30 years living in Mexico, though he was convinced that he would never see his hometown again. He was persuaded by his deeply religious Mexican wife Dolores, who is convinced that only a miracle that might be fulfilled by Prague’s famous Infant Jesus can help their daughter Penelopé get pregnant. And the ideal time for this is Christmas. And when Ruda, his friend from Prague, also insists, José agrees to return to the places he used to know and to the memories that they bring back – including his former Prague love. And it becomes evident that the Infant Jesus is not the only one capable of making miracles come true in Prague. Penelopé’s longed-for conception is definitely not the only one…

A pair of rural detectives are searching for the murderers of old Vodička. He was an unpleasant old man who apparently witnessed a crime at some point in the past. The pair slowly unravels the threads of a case that reaches deep into the past. However, the old events have long been shrouded in the fog of oblivion and the village's unwillingness to reveal secrets that personally affect each of its inhabitants. In the end, as is often the case, chance comes to the rescue, and an ordinary shirt button becomes indirect evidence of the murder...

Adolescence is always a difficult time; it is doubly so for Gábina. For one thing, she is growing up in the normalization years of the 1970s, and then she also has to face the reality that her father is a well-known actor disavowed by the regime. Although he abandoned the family years before, his existence casts an ominous shadow over the lives of not only Gábina, but also her older sister and mother, who are trying to find a civilized way through the social mire of the times.

Princes flock to the Noodle Kingdom to compete for Princess Beatrice's hand in marriage. However, Prince Vladimir is not particularly keen on getting married, so he swaps roles with his servant Janek, a renowned chef. He has no idea what trouble this swap will cause him – immediately upon arrival, he is asked to take charge of the kitchen. And so Vladimír must deal not only with an unusual task, but also with his unexpected growing affection for the princess, whose father has meanwhile chosen a completely different groom for her. Perhaps only a magic noodle of knowledge can resolve this tangled situation.

Carefree Jindřiška (23) discovers that her father owes a lot of money when debt collectors arrive to confiscate their house. In a single day, Jindřiška's world falls apart, forcing her to choose between helping her father or saving herself before it's too late.

More than a year has passed since the last time we saw Julio Lavický (Jakub Stáfek) (yes, it was when he "sold" the match, but forgot about it and scored a beautiful goal). Lavi is, as his agent would say Jarda (Jakub Prachar), still the same demented person, but he finally started to do well. Both in football and in his personal life. With Vysehrad, he advanced to the second league, where he leads the scorers' table, once again wealthier clubs are eyeing him, he even asked for the hand of his girlfriend Lucia (Sárka Vaculíková), Jarda's sister... At the wedding, which cost a fortune, but he discovers that he already has an eight-year-old son, which will definitely not please the newlywed. not to lose his wife on his wedding day, to take care of his child, which is a long way from him, to get from Vysehrad to somewhere higher, or to fight with the practices of a certain football Dad... It's just rushing like an avalanche again - from one problem to another second.

Two men, one in a stolen vehicle and the other drunk, drive along a backroad to avoid city traffic. Suddenly both cars collide with an SUV and they are unwittingly drawn into a game of survival with a deranged rifle-wielding assassin out for blood.

“A burned-out group of Brno intellectuals decides to go to Kolochava in Ukraine to perform ‘A Ballad for a Bandit’ there.” With these words, the author's collective presents their film, in which they use primarily documentary imagery to compose a lyrical grotesque about an epochal trip, which might be their goal. But it doesn't have to be. The main tool of expression here is the film’s edit, which places various shots, statements, and meanings next to each other, often in a sort of productive conflict. Just like in a poem, the “poetic function” of art and its ability to serve as the primary tool for expressing beauty is manifested in full force before our very eyes.