The movie is based on a genre of popular scientific documentary and is trying to presume the effects of scientific findings. It confronts the idea of life in the universe with theological and anthropocentric conceptions and prejudices. There are some demonstrations of radically different forms of a film presentation (experimental movie, 3D animation) used in the movie; it is to show the limits of our imagination face to face with the unknown.
Slightly meteorological film about creating, behaving and blustering of clouds, about how the invisible (e.g. water in atmosphere) can become visible and in what way formating of ideas is similar to that of clouds. Also a painter and a physicist participate, to talk about elements (the first one) and colours (the latter one). Film, that works with unique images of clouds, introduces metheorologists (who talk about creation and behavior of clouds and about a storm) and different people who have worked with clouds in some outstanding way – physicist Richard Feynman (who is an author of the biggest artificial cloud in the world – during testing the atomic bomb), painter Kazimir Malevich (suprematist, who adored abstract qualities of the visible), poet Sylvia Plath (who used clouds in her poems in a rare non-pathetic way), director Sergei Eisenstein (who found out that effect of flash can “give” a motion to motionless things) etc. In the film, also philosopher and biologist talk – they try to use a cloud as a metaphor of thought, they think about the similarities between the both. The whole story of the film starts with creation of the cloud, observes its existence, its blustering and finally peaceful white-blue sky – in the same time it is a story about creation of a thought, about its growing and clearing, than the conflict (a storm) comes and finally it either stands or disappears. Department of documentary film, FAMU-bachelor degree film.
"Saying I don't like the Czechs is like saying I don't like my mom. Saying I don't like the Slovaks is like saying I don't like my father. Saying I don't like the Polish is like saying I don't like my grandfather." We are in the European Union, in the easternmost Czech town, at the intersection of the Czech Republic, Slovakia and Poland. People's lives and the region's entire historical development have been greatly affected by these three borders. We spend most of the time exploring the small mountain community of Hrčava, the youngest and easternmost Czech village. Capturing this magnificent, forgotten mountain region in the course of the four seasons of the year in the rhythm of local music, the film tells the stories of the past and the present. The special nature of the place comes from the mutual blending and layering of various ethnic elements.
Film essay about classical and postmodern supervision mechanisms. In the second half of the 18th century, Jeremy Bentham designed the model of a panopticon, a type of building that made supervision most effective. Panopticons were firstly used for prisons, places where supervision and punishment are the main functions. Secret services but also different surveillance technologies are the new panopticons. They can monitor, save and store data about people to identify them, to distinguish the location and time of people’s behaviour and actions. Architecture theorist, software expert, people who are or were monitored, or the former secret service agents explain their panoptical experience. Reading again Michel Foucault´s Discipline and Punish, through experience with different kinds of supervision, in the film we are looking for the perfect application of the panoptical principle.
Four Dialogs on the Run
An Application for Asylum in the Czech Republic on Ecological Grounds
“My name is Brian Kulkaer Larsen, I am forty three years old, I come from Copenhagen and I am applying for asylum in the Czech Republic for ecological reasons." Filmed in Denmark, this film demonstrates two of the country's cutting-edge ecological projects while poking gentle fun at the “dinosaur” mentality of high carbon emission and energy generation. Kulkaer Larsen is a figure, that is shunned by Danish society. He has a dream of freedom to rival the first pilgrim fathers, however, until he visits the Czech Republic he has nowhere to realise it. This "real-life" investigation explores the environmental technology and Kulkaer and his shovel's struggle for dirty justice in a spotless world.
An experienced head curator and art historian ponders the best and most accessible way to introduce Zdeněk Rykr (1900 – 1940). Rykr was a celebrated ad designer who worked for companies such as Orion - Nestlé, Baťa and Škoda, which have since become multinational giants. But he was also a painter, theorist, graphic artist, draughtsman, decorator, journalist and joke writer. The curator’s reflections are guided by Rykr's constant movement across borders. He not only switched between various media, techniques, genres and topics, but also lived in France, Greece, Spain, Belgium and other parts of Europe. Movement is the central principle of Rykr’s approach to life and the world, and it lends this hard-to-define artist a global significance. The curator decides to examine Rykr using contemporary art, artists and critics. Artists and art professionals who, consciously or not, work with some of Rykr’s principles, enter a dialogue with his work.