Prince Bayaya

Látal's nine-part puppet series completes Trnka's thirty-year-old work on Švejk. He thus completed the adaptation of Jaroslav Hašek's most famous literary work, a tragicomic satire about the wartime adventures of the eccentric Josef Švejk, in a puppet version based on Lada's artistic style.

A selfish self-centered widowed ruler, barely tolerated by his subjects and called appropriately enough, 'King Myself, First' asks his three daughters to name the measure of their love for him. When one of them says, "more than salt", he banishes her from the kingdom. Not understanding what she meant the King assumes love can only be measured by precious metals or one's own talent, the 'correct' answers from his other two daughters. The arrogance of the King leads him to gather all the salt in the kingdom and destroy it. Of course, this backfires as he slowly learns the universal value of the substance, and of course, the essence of his daughter's reply. With the help of the wise and magical old 'herb woman', the King also learns what it means to be a true and wise ruler.

Five crime stories connected by the narration of police superintendent Bartosek.

A happy little potter is approached by a huge hand which wants him to sculpt its statue. The potter refuses, wanting nothing more than to be left alone with his only friend, a potted plant. As the hand's request gives way to bribery, demands, and threats, the potter becomes more desperate to escape its clutch, leading to tragedy.

The second part of the revolutionary Hussite trilogy takes place in the years 1419-1420.

Adapting Jaroslav Hasek's raucous satirical novel, and also bringing Josef Lada's equally famous illustrations to garrulous puppet life, posed Trnka one of his biggest creative challenges. Trnka himself felt that the final episode was the most artistically successful, but there's much to enjoy in all three, not least the way that the lackadaisical layabout Svejk's own self-serving anecdotes are realized through cut-out animation.

The first puppet film shot in CinemaScope. It is based on the famous poetic comedy by William Shakespeare. Three worlds meet in this story: the noble world of three Athens couples, a common popular world of tradesmen amateur theatre and a fairy-tale happiness of magic creatures as elves and nymphs. The film is considered the most remarkable Jiří Trnka's work and a milestone in the history of the world animation.

A satire of the Great American Way, with Lemonade Joe a "clean living" gunfighter who drinks only Kola-Loca Lemonade and convinces everyone else in town (with his gun skills) that all "real men" drink ONLY lemonade!

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.

Two mischievous frost spirits make things chilly for a pair of travelers in this wintry comic folktale.

A monumental piece of art bringing the heroes of the ancient Czech myths back to life. The picture consists of seven parts: Cech the Forefather, Bivoj, Libuse, Premysl, Girls War, Horymir, Lucka War.

The first part of the "Hussite Revolutionary Trilogy", completed with Jan Žižka (1955) and Proti všem (Against All Odds, 1957). The film captures the period from May 1412 to the summer of 1415, a turbulent time in the Czech Kingdom, during which there were protests in Prague against the sale of "omnipotent indulgences" whose sale throughout the kingdom was announced by Pope John XXIII. The ideological leader of this movement is the preacher Master Jan Hus, whose words, calling for the elimination of church abuses, are listened to in the Bethlehem Chapel by thousands of ordinary Praguers, Czech lords and Queen Sophie, wife of the Czech King Wenceslas IV.

Taken from Boccaccio's Decameron, this lovely puppet film tells the bawdy story of the beautiful young Venetian lady who confesses her sinful passion for the Archangel Gabriel to a lustful monk, who promptly impersonates him in her bedroom with predictable results. Amidst the film's ribaldry, the hypocrisy and false piety of the monk are mercilessly mocked.

Trnka’s sci-fi vision of the future in which machines and robots try to substitute themselves into the most beautiful human relationships. A cybernetic robot is supposed to substitute for the loving grandmother of a little girl. The wise grandmother, however, comes back and the girl finds the warmth of her grandmother’s loving arms again. Trnka’s artistic ideas in this film can be described as both poetically fragile and dramatically cautionary.