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2018 SPECIAL ENGLISH ISSUE for FREE Asite 002 Latform 008 Rate 000 Forum – Czech film/Interview 002 Jaromír Blažejovský: Let’s Not Get Devoured by a Parasite 002 — A Look Back at Czech Films of the Past Season 008 Janis Prášil: Activist Documentary as an Interactive Platform 008 014 Jan Křipač, Michal Kříž: The Purpose of Art is to Liberate irs 014 — Interview with Janem Švankmajerem 2018 � SPECIAL ENGLISH ISSUE � FOR FREE 018 Miloš Kameník: Close to Characters 018 — Interview with Lukáš Kokeš about the File Before 000 Films 028 Jan Švankmajer: Hmyz (Jan Bernard) 027 034 Klára Tasovská, Lukáš Kokeš: Nothing Likeáč) 033 036 Jan Gebert: When the War Comes (Michal Kříž) 035 038 Petr Horký: The Russian Job (Jan Křipač) 037 040 Jan Svatoš: The Ark of Lights and Shadows (Jan Jaroš) 039 042 Ondřej Havelka: The Hastrman (Zdena Mejzlíková) 041 044 Tereza Nvotová: Mečiar (Radovan Holub) 043 046 Eva Koťátková: Stomach of the World (Jan Křipač) 045 000 Books 050 Poetika českého filmu — an old project comeareš) 048 001 Editorial 000 Forum – Czech film/Interview 002 Jaromír Blažejovský: Let’s Not Get Devoured by a Parasite 002 — A Look Back at Czech Films of the Past Season 008 Janis Prášil: Activist Documentary as an Interactive Platform 008 014 Jan Křipač, Michal Kříž: The Purpose of Art 014 is to Liberate its Creators and Viewers — Interview with Jan Švankmajer 018 Miloš Kameník: Close to Characters 018 — Interview with Lukáš Kokeš about the Film Nothing Like Before 000 Films 027 Jan Švankmajer: Insect (Jan Bernard) 027 033 Klára Tasovská, Lukáš Kokeš: Nothing Like Before (Martin Kudláč) 033 035 Jan Gebert: When the War Comes (Michal Kříž) 035 037 Petr Horký: The Russian Job (Jan Křipač) 037 039 Jan Svatoš: The Ark of Lights and Shadows (Jan Jaroš) 039 041 Ondřej Havelka: The Hastrman (Zdena Mejzlíková) 041 043 Tereza Nvotová: Mečiar (Radovan Holub) 043 045 Eva Koťátková: Stomach of the World (Jan Křipač) 045 000 Books 048 Poetics of Czech Film — an old project come true (Petr Mareš) 048 fILM A DobA Proofing Critical quarterly journal dedicated to film and the times since 1955, Hana Ucekajová Special English Issue Production Published by Spolek přátel Filmu a doby, z. s. with financial support of the Mi- Vydavatelství Filozofické fakulty Univerzity Palackého v Olomouci nistry of Culture of the Czech Republic and the State Cinematography Fund fILM A DobA Editor-in-chief Branická 620/124, Braník, 147 00 Praha 4 Eva Zaoralová e-mail: [email protected] �.filmadoba.eu Executive editor � filmadoba Michal Kříž Free of charge Writers Jan Křipač, Martin Šrajer Place of Issue Date of Publication Prague, Czech Republic June 28, 2018 Editorial board Michal Bregant, Jan Bernard, Petr Gajdošík, Saša Gedeon, Pavel Horáček, Cover photo Milan Klepikov, Karel Och, Alena Prokopová, Jan Svoboda, Zdena Škapová Insect (by Jan Švankmajer) Graphic design and layout ISSN: 0015-1068 Lukáš Kijonka a Michal Krůl � Kolektiv Studio Registered with the Ministry of Culture of the Czech Republic under No. E 1569 Translation Hana Bohatová, Jekatěrina Křipačová, Kateřina Matrasová, Marie Přibylová, Milan Růžička, Tereza Siegelová, Pavla Voltrová Language editing David Livingstone 001 Forum – Czech Films/Interviews ↳ Barefoot Let’s Not Get Devoured by a Parasite ��� A Look Back at Czech Films of the Past Season Jaromír Blažejovský In his long-anticipated film Insects (Hmyz, 2018), which which the world of insects permeates the world of humans, this master of Czech surrealism declared to be his last, Jan remained intact, however, and he added a behind-the-scenes Švankmajer presents himself as a director staging the story look at his special effects techniques while sprinkling it with of a group of amateur actors rehearsing the play From the some Shakespeare. The result places this self-ironic work Life of Insects (Ze života hmyzu) by the Čapek brothers. among those films portraying the torments of creativity. One Sluggish amateurism can be seen in the film: some actors might name, for example, Fellini’s 8½ (Otto e Mezzo, 1963) have not shown up, the most diligent one lacks talent and the and Truffaut’s Day for Night (La Nuit américaine, 1972). It is director (excellently portrayed by Jaromír Dulava) humiliates the group of amateur actors, however, who have to endure his rival in love. In the end, life finds its way into the play, but this torment, not Švankmajer’s crew who know what to do it is, in fact, death in disguise as a number of actors do not and are very good at their jobs–a delicacy is, for example, survive the rehearsal. The winner is a railway man (superbly the making of fake vomit for Ivana Uhlířová playing Jitka who portrayed by Norbert Lichý) playing the role of a parasite who takes on the role of the larva. Čapek’s metaphor of the hu- shouts lines from King Lear from his slumber and eventually– man rat race narrows itself to a metaphor of an artistic rat in what is a flawless performance–devours a larva as well as race. A dung ball representing art gradually transforms itself the actress portraying it. into a monster. In the world of art, Švankmajer’s comedy is Critical reviews dubbed Insects the weary opus of an a parable on the mediocrity which suffocates Czech society. exhausted master. The script dates back, however, to 1971, If we remain mediocre and indifferent, someone will devour Švankmajer began working on it in the era of the “gold- us; most likely a talented parasite. en sixties” and completed it at the beginning of the period While Insects and its surviving beetle-people do of normalization, which thwarted the creativity not only of not sink into mediocrity, the same thing cannot be said Švankmajer, but of the entire society. The core of his story, in for other Czech films from last year. Problems with state 002 Forum – Czech Films/Interviews ↳ Barefoot funding are not the issue. The State Cinematography Fund About half a million viewers came to see Barefoot (Po allocates about 350 million Czech crowns each year and strništi bos, 2017) by the screenwriter Zdeněk Svěrák and the Czech public television broadcaster–Czech Television the director Jan Svěrák. This film aimed at following up the –and its private competitors Nova and Prima invest heavily success of their Elementary School (Obecná škola, 1991) in original Czech production. Around fifty Czech feature as its prequel set in Nazi-occupied Czechoslovakia. The film films, approximately twenty of which were documentaries, charmingly depicts the life of a schoolboy forced to spend premiered in Czech cinemas last year. The artistically most the Protectorate years in the countryside. The strongest interesting projects were paradoxically not the ones made character is the boy’s cursed uncle (Oldřich Kaiser). His fam- by Czech authors, but rather films from neighbouring coun- ily views him as a black sheep and calls him Vlk (Wolf), but tries made under Czech co-production. The winner of the he is the only one who is actually brave and responsible. He Golden Bear at this year’s Berlinale, Adina Pintilie’s Touch supports the partisans and takes part in the May Uprising of Me Not (Nu mă atinge-mă, 2018), was made with the help 1945. The father-son duo of Zdeněk and Jan Svěrák once of the Czech production company Pink, and proved once again offered their take on male role models in Czech history. again that the best way for Czech companies to achieve Once again, however, they came to the conclusion that we success at an international festival is co-production par- often fail to appreciate great men; this being the problem of ticipation on a Romanian project. Three years ago, Ber- us Czechs. Like little Eda, we are raised in small-mindedness. linale’s Silver Bear was awarded to Radu Jude’s “eastern” In what would turn out to be his last film, the deceased Jan Aferim! (2015) made in co-production with the Czech Tříska excellently depicted the character of Eda’s card gam- company Endorfilm. bling grandfather. The scenes with children, however, come across as rather clumsy. The Certainties of Totality The box office success of Barefoot is in contrast with The waters of the domestic scene were stirred by two the failure of the trilogy Garden Store (Zahradnictví, 2017) outrages. The first one was sparked after Julius Ševčík’s latest by the screenwriter Petr Jarchovský and the director Jan film Masaryk won twelve Czech Lions–the annual awards of Hřebejk. The project is also a prequel to the nostalgic fami- the Czech Film and Television Academy. It was the film’s cun- ly story from our modern history, the popular comedy Cosy ning strategy of limited distribution that was condemned. Al- Dens (Pelíšky, 1999), which Czech people know by heart and though the film had its nation-wide premiere in March 2017, which was made by the same authors. Like the project by seven exclusive previews were shown at Prague’s Lucerna the father and son team the Svěráks, Garden Story is also in- Cinema just before the end of 2016, making the film eligible spired by the screenwriter’s family history. While, however, to compete in that year. The film’s promo campaign could Hřebejk and Jarchovský were able to resonate with the sen- consequently be built around a dozen awards. timents of Czech society at the turn of the century, it seems A secondary source of doubt was the fact that these that now they have failed to understand their contemporary twelve awards were given to a film with demonstrable audience. Their trilogy attempts to appear like an extraordi- technical qualities, but with a disputable artistic and social nary and wise saga, but the story is slow-paced and shallow meaning.
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