A cheerful essay on civil servants in which the author, drawing on rich documentation of almost etymologic nature, describes the transformation or conversely the passivity of civil servants at a time when they have to adapt to outside influences of requirements and regulations imposed on them by the EU. A cheerful essay on civil servants in which the author, drawing on rich documentation of almost etymologic nature, describes the transformation or passivity of civil servants at a time when they have to adopt to outside requirements and regulations imposed on them by the EU. The civil servants are not isolated, they belong to a special category. They cannot escape the reach of regulations determining their actions. At the same time they adjust them to fit their nature. The director, inspired by observations of her husband, who began to change inconspicuously after switching from a public sector job to service in the state apparatus, sees civil service as a collection of butterflies with the most exquisitelyornamented wings, whose flight through the offices combines geometrical precision with fantasy. At the same time, her observation establishes the correlation between the civil servants` instinct and the distinctive creativity some of the specimens are capable of a two distinct but mysteriously interconnected phenomena.
Table on the Net
A vertical leading from the table up to the altar - a table in the internet links. FAMU, Department of the Documentary (1st year)
Krásná Praha olympijská
Life to a Killed Frog!
“Nature cannot be invented, it must be born and then attempt to become stronger. Nature cannot be abolished by an act of thinking, but by killing. Nature is mutable, a relationship between birth and death. This changeability is a source of fragility and violability and a sign of temporality. But it is also a source of unpredictable power. These are attributes of life which can be found in every living entity, every biological species, and also in every idea or relationship.” Zdeněk Kratochvíl (Výchova, zřejmost, vědomí, Praha 1995) An educational satire about the furious effort to sustain life, about the metamorphosis of saviours into the saved, about scientific experiments, the nature of amphibians... and hundreds of lives saved. FAMU, Department of Documentary Film (3rd year - film poem)
Lise Forell – sem frontieras
The film explores borders in the life of a woman who broke away from her family's expectations in 1939 and set out to define her own ground with her own rules. Lise Forell, a Brazilian painter of Czech-German descent, lives a happy life that is marked by constant obstacles and challenges. Yet she also has the willpower to overcome and go beyond any crises, social norms and boundaries in general. At 85 years of age, she is able to assess her remarkable life story without being sentimental, with a due distance and creative energy.
Struck by gestational diabetes, the director is forced to stop consuming refined sugar. Suffering from withdrawal symptoms, she realizes how terribly difficult it is to get rid of the addictive substance and how hard it is to find sugar-free products on the market. The director investigates the impact of sugar on the individual and the society. She discovers how great a power the powder has had in history and still has nowadays. If we are a great bunch of sugar junkies, how does the addiction influence the functioning of our society? Is the sweet life a driving force of our civilization? What is the sweet life we dream about like? What are we willing to do to achieve the symbolical sweet life? The film shifts between a historical thriller, scientific observation and a socially engaged documentary, including many documentary situations.
Zdeněk the Pointsman Rykr
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.