This film is the first collective work made by the open association of improvising formalists Argentum vivum, which took part in the closing concert at the brass-band festival Kmochův Kolín, with participation of all the bands and marching majorettes.
Children of Stalinism
„CHILDREN OF STALINISM“are those who grew up in 50s in communist Czechoslovakia and experienced the Velvet Revolution. They opened up for the documentaries to give a testimony of the past. The communist regime robbed them of their childhood, they have often never seen one or both of their parents, or not until they came back from the communist prisons. They often ended up in the care of their relatives or in institutional care, at worst. They were labeled “children of the enemy”, or “criminals’ children” and were deprived of opportunities to get higher education, and condemned to live at the margins of the society. They were not guilty of anything, but had to live lives of sinners. This goes like a red thread through all fourteen 26 minutes long parts of “Children of Stalinism” series. The parts of the series are not only testimonies of political prisoners and their families as seen through the eyes of their children, but they also attempt to understand and mediate main protagonists’ life as they live it now and as it was shaped by their difficult past.
One of the Upanishads says to "meditate on speech as a cow. The gods, men and the fathers live on her udders“. In small town Kunčice there stands an old cowshed where the cows stand in rows, humbly fulfilling their purpose. But the cowshed is being closed and the cows are taken to a new place which better meets contemporary efforts at providing cows with a more natural environment. – Department of documentary film, FAMU – 1st year (auteur reportage).
Not Only on the Legs, but also on the Rear
God is the river that carries us along. – Department of documentary film, FAMU – 2nd year (auteur portrait)
My Body's Body
Film mediates certain kind of mental space of timelessness. At the edge somewhere unfolds maternal body. Images and sounds of the first months after author gave birth to her children constitutes film's distinctive language. Thus film confrontates habitual ways of imaging and understanding maternity with personal experience. From this point it is possible to approach reality of new life and motherhood. Space between mother's love and lactation psychosis is pervaded by intimacy and fragility on its own. Microevent in each scene contrasts with toughness of static time framed into white winter landscape. Thus film speaks about something profoundly basic.