It is very often difficult for us, those who can see, to find our true fulfillment and happiness in the world. The more complicated, but maybe the more interesting this journey might be for the blind. Their perspective of the world is much more essential and sincere in many ways, and it often uncovers the invisible dimensions of the world. This film is about love amongst the blind and about the different forms it can take. The main protagonists are people who were born blind and they have been living in a world of their own since ever. This world is often filled with unusual visions, perceptions and dreams. It is through the lives of four different characters in the film, through which we are presented different kinds of love experience. Zuzka, a blind teenager, is in search of her first love. Blind young Roma, Miro, falls in love with a blind white girl. Blind Elena happily raises her 5-year-old sighted daughter. Peter, a blind music teacher, wants to fulfill his wife’s dream and takes her to ‚see‘ the sea for the first time in their life. The cinematography we intend to apply should be artistic and visiualy attractive in the surrealistic aesthetics but at the same time its content will consist of real and true moments from the lives of the characters. The screenplay was awarded the Tibor Vichta Award for the best documentary script in Slovakia.
The short documentary Petržalka Identity is a follow-up to an exhibition of the same name, presented by Juraj Chlpík on Bratislava’s New Bridge in 2006. With its 130,000 inhabitants, Petržalka is the biggest neighborhood in Bratislava. Three generations have grown up here since it was built. People are dying and being born, a new chapter of history is being written, one that is not perceptible from the outside, but only from the inside, from the point of view of our memories and our intimate personal stories. The movie portrays several people living in this featureless world of concrete, trying to find a place for themselves in this jungle of blocks of flats where they could put down roots. The photography exhibition that preceded the movie was installed in such a way that portraits were lined up on the left side of the bridge, while the photos from the respective flats of these people were put on the right side. In Petržalka Identity Juraj Chlpík opted for a similar method: the impressions expressed by the locals are accompanied with pictures from their flats.