Squandered Sunday

Fati Farari, a black man from Africa, is completing his studies in classical piano at the Music Academy of Prague. It's the day before his first solo concert, where he is going to play Bach. While he strolls around the city he is thinking, not so much about the concert as about himself, both as a lonely foreigner and as a human being in cosmos. Here and there he encounters some racist comments, but mostly he just feels the weight of social exclusion because of his otherness, especially when it comes to women. On the morning of the day for his concert the embassy informs him that his whole family has perished. He feels totally broken, although he thinks that everyone holds some pain inside. His piano teacher, a professor at the Academy, looks him up, and tells him that he heard what has happened. The professor advises him to communicate his feelings that evening by using his Bach.

Film director Drahomíra Vihanová is preparing some interviews with two women. The women are at first sight opposites, but in reality they have much in common. Through the interviews the film director hopes to get a deeper understanding of herself as well. What unite all three of them is creativity, what creativity means for women, and how they combine their creative projects with their daily life.

Set in the late 80s in a quiet, rural village headed by a suspicious, conspiring group of nasty leaders. Ewald has arrived there to measure water levels. Surrounding the fortress near the village are soldiers.

A lyrical story about first love, death and disappointment, based on a poem of the same title.

In addition to the so-called collective portraits, Drahomíra Vihanová also captures distinctive individuals - for example, she made films about the director František Vláčil or the piano virtuoso František Rauch. This series also includes a portrait of the singer Eva Olmerová, The Changes of Eva's Friend. This film met with a very contradictory audience response after its completion. Here the director attempted to capture the form of a human being, the ups and downs of an undoubtedly brilliant singer. The empathetic viewer will soon understand that this film is like life itself: it is harsh, loving, there is an irritating volatility, a restlessness of the soul, reconciliation, compassion, humility and passion. And this applies not only to the filmed Eva Olmera, but also to the director Vihan.

By the end of the second World War, three prisoners wish to escape from the train carrying them from one concentration camp to another. To make it happen, they need to get food first.