Tomáš Töpfer

Francin, manager of a small-town brewery, has a charming wife whose abundant blonde locks are an adornment to the town. Maryska looks ethereal but loves meat and beer, while Francin is an ascetic. The strict members of the brewery board of directors come to audit the accounts, but are diverted from concentrating on Francin's detailed reports by Maryska, who has organized a pig-killing feast and is ably assisting the butcher. When she invites the old curmudgeons on the board to enjoy the fresh pork, they are too happy to agree. Francin doesn't know whether he is going to get a permanent contract. To make things worse his brother Pepin - eccentric, noisy and garrulous - turns up on an indefinite visit.

For an experienced police commissioner, solving a single murder would be routine, but the killer isn't satisfied with just one victim, and it's not easy to fairly judge who is the victim and who is the killer in this case.

In the film, the creative forces of personalities from three spheres of art collide. The subtitle "The Game of Love and Hate" refers to the motivation of an old Czech medieval satire, the theme belongs to Antonín Přidal, an expert on this subject. His collaboration with Juraj Herz created a collage of past and present, an updated, sharp satire and a parable about the clash of human qualities that could not but end up in the vault. The music of the Prague Selection - Michael Kocáb and Michal Pavlíček - also contributed to the film's offensive provocativeness - the film was one of the reasons for their complete move to the underground. The dancing chorus of medieval citizens resembles more of a jumble of long-haired maniacs, the edge of a contemporary dump intrudes into the space of a medieval marketplace, and the characters oscillate between the past and the present, whether in their appearance, symbolism or behaviour.

It is 1961 and an Albanian student (Nik Xhelilaj) of the Academy of Performing Arts in Prague, together with a group of Czech students, is shooting his graduate movie on a motorcycle factory, in the small market-town of Český Šternberk, in then Czechoslovakia. Coming from a country that is completely isolated from the rest of Europe, he is fascinated by the lifestyle, society and "erotic exuberance" of the Czech golden youth, yet feeling strong links with his family in his homeland. He falls in love with a married woman (Anna Geislerová), the wife of a police superintendent (Paolo Buglioni) and is insecure about his future.

While Kendy returns to his hometown as an assistant director to film a thirteen-part series with a television crew, Štěpán Šafránek, equipped with his mother's advice after graduation, takes up his first position - as an intern at the local hospital. However, his inadaptability to local conditions and his sense of ethics in his chosen profession do not suit his other established colleagues. While they are amused by his zeal and responsibility, Štěpán has increasing problems with his superiors, until he is finally transferred to the position of rural district doctor, which everyone rejects. In Bezdíkov, however, he meets a new, perhaps permanent and reciprocated love, with whom he eventually decides to live and work in northern Bohemia.

Telling the story of Archimedes, one of thousands of refugees who left Greece for Czechoslovakia at the end of the 1940s, as the Greek civil war meant many communist fighters sought refuge in communist countries. Told through the eyes of Archimedes’ grown-up nephew Aris, who recalls how his uncle's life changed when he escaped from Greece to Czechoslovakia with the naive dream of a rosy future under a socialist regime. But all was not as it seemed.

A drama that tells the story of the physician and politician MUDr. František Kriegel, the hero of the Prague Spring of 1968, who was arrested and kidnapped to Moscow on the night of August 21st together with five leaders of the party and the state (Dubček, Černík, Smrkovský, Špaček and Šimon). He was the only Czechoslovak politician who managed to stand up to Brezhnev in Moscow captivity, even under the threat of liquidation, and not to sign the Moscow Protovol which meant agreeing to the occupation of Czechoslovakia in 1968.