Petra Ptáčková

The reclusive writer Henry returns from his travels and finds a pile of letters on his doorstep. Without a salutation or signature, the poems written on used train tickets remind him of his current literary impotence. Henry opens envelope after envelope and reads, reading between the lines, gradually allowing the foreign words to touch his soul. After a while, his imagination awakens, and he may even start writing again himself. But who are these mysterious letters from?

František Fajtl and Filip Jánský were among the few Czechoslovak airmen who actively fought on all major European battlefronts during World War II and lived to tell the tale. This unique documentary edit, which combines authentic eyewitness accounts of historic events with little-known archival footage, examines various fates and places as well as the journeys associated with them. The resulting amalgam of images, speeches, and music/sound files is far from your typical historical illustration. A suggestive portrayal of life under bleak conditions, far away from home and on the cusp of death, unfolds before our very eyes.

Imagine that right now, directly beneath you, someone is lost underground and desperately calling for help. A group of four people are trying to find the legendary catacombs of old Prague, but their expedition into the labyrinth of medieval corridors turns into a fight for their lives. Which is more dangerous: an inaccurate map or an ancient secret?

The lives of five young villagers change forever when a strange and powerful woman arrives, claiming one of them is the child of an ancient prophecy with the power to tip the balance between Light and Dark forever. They must choose whether to trust this stranger – and each other – with the fate of the world before the Dark One breaks out of His prison, and the Last Battle begins.

The Czech film avant-garde. A unique artistic direction of the 1920s and 1930s with great persons of Czech culture like Vítězslav Nezval, Jaroslav Seifert, Alexander Hackenschmied, Jan Kučera and many others being mentioned. However, is it really a forgotten landmark of the Czech cinematography or an artificial construct, created subsequently by film history?