NinadeL

This is one of the new creations of promising young people. Just a little while ago they were making their student films and now they feel they have lived enough to pass on their inner world to us. Yeah. But it will pass.

Jaromil Jireš is one of those darlings that it would be great even if he were to record only a sentence or a simple sample for a film. The Cry is a charming film. After all, the theme of the young family is humorously portrayed in Kissing-Time Ninety, for example, so it's nice that here we have a gentle, empathetic solution for a change. And of course with the subtle satire in the side storyline about how today's generation is dancing the twist while the older generation was just broodingly reading French avant-garde.

Since I'm a sucker for the intersection of the TV and film mediums, I'm having fun with the intersection of Sunday League. That's all. But that’s also enough.

Miloš Zábranský is one of the individuals of the 1980s whose star power went down before it went up. However, his loose trilogy, full of parables and religious mysticism set in the greyness of everyday life, has much to offer. At least as evidence of how far contemporary frustration and futility have reached. Of course, the initial situation is ordinary, but therein lies its strength.

Considering the positives that Ševčík's Restart boasted, it is only natural that Normal is also built primarily on its formal aspects. The script is not dazzling, and the ambition to tell a realistic period crime story has given way to a neo-noir stylization. Of course, it's great that Peter Kürten's story inspired this group of filmmakers. Ševčík and Riestra profess a video clip aesthetic, Muchow doesn't tackle jazz, and the makeup artists don't bother to do their makeup and hair in a way that makes the whole thing look like Weimar. It is better to give up on a good period piece when it doesn't suit you and make it entirely your own than to trap a similar piece in a static theatrical recording or a TV production and condemn it to a small number of reruns.

A strong women's film. Pawlowská tastefully wrote out life's caroms, pointing out that you don't really need these Kratina aspects, as well as that it's best not to let your parents get too close to you - because then everything will be quite all right. The sweet Hartl gives hope at the end and Iva Hüttner thankfully contributed only her art.

In spite of the negative response, My Naked Diary can be described as an enjoyable pre-graduation comedy that should be updated every decade, because, for example, the story of Girlie from 2002 was considered too passé by today's kids. The stories about the sympathetically exuberant Johana fit perfectly. This generation's issues are a little different than the previous ones, the sets are more multimedia every year, and the Dubai story takes on a new dimension overall. The flashbacks from the adolescent psychiatric hospital are surprisingly done sensitively and it is particularly a pleasure to watch Veronika Kubařová's pleasantly girlish performance. Kubařová is a mature actress familiar with the Czech and international repertoire from the theater (especially from Prague's Municipal theaters), used to acting on the entire stage herself, and it’s really too bad that she does not play similarly large roles in films more often.

Go Back to Your Grave! has matured. We can watch the pre-graduation classes through various lenses throughout the decades of Czech film and each time we experience something new with them. This time Pawlowská took up the topic on the basis of a sociological experiment. Surrounded by the agile Dušek and the lax Vala, Šteindler literally turns around the collective of Klára Pollertová, Monika Šeligová and other beautiful ladies under the age of twenty. He may be only slightly over thirty himself, but that doesn't stop the young romance, the substantial jokes, and the discovery of a new joy in life.

The most recent Craig film thus far is a very enjoyable part of the Bond franchise. A great opening reminds one of Live and Let Die, the first girl is the pleasant Monica Bellucci, the second - her complete contrast - Léa Seydoux (the fashionable Frenchwoman we primarily know for her blue hair), but the time period mainly favors Christoph Waltz's styling. Spectre flows nicely, developing the story already begun in Casino Royale, and I'm simply glad that James Bond will return.

Jireš's filmography, imbued with an unmistakably fragile imagination, is a comfort to me even when I feel I am losing faith in the likes of Kachyňa. Prodloužený čas is a film I've always been comfortable with and it just gets better as time goes on. The author, who is able to make a poetic and literally beautiful film about Maruška Kudeříková, is naturally excellent in the whole human story, which tells a story about human trials that provide natural moments such as mortality or falling in love on the basis of lectures from the history of creative arts.