www.filmsk.sk Cannes & Karlovy Vary Edition 2021 THE HISTORY AND PRESENT OF THE SLOVAK FILM INSTITUTE editorial The Slovak Film Institute (SFI) is the sole state- funded memory and archive institution operating in the area of audiovision in Slovakia. The National Film Archive and the National Cinematographic Centre are the SFI’s basic organisational units. The SFI is a member of the SLOVAK FILM INSTITUTE International Federation of Film Archives (FIAF), European Film Promotion (since 2006); it operates as a service work- place for the European Audiovisual Observatory (EAO) and the Council of Europe cinema support fund – Eurimages. AND SLOVAK FILM COMMISSION Creative Europe Desk Slovensko is also part of the Slovak Film Institute. The Film Institute in Bratislava was established JOIN FORCES TO PROMOTE on 1st April 1963. The film archive, which was established In the previous Berlinale Edition 2021, the first spe- in 1958, also became part of the Institute. In 1970, the SFI cial festival edition of Film.sk, we committed to the Cannes was presented with a copy of the first Slovak feature film and Karlovy Vary editions. However, their production process Jánošík (dir. Jaroslav Siakeľ, 1921) which was later re- SLOVAKIA AT INTERNATIONAL was constantly complicated by new anti-pandemic measures stored and provided with a soundtrack. and date changes of festivals. As a result, we decided to put By the end of 1976, the Film Club of the Central together a combined summer festival version of Film.sk – Office of Slovak Film was opened in Bratislava. Cinema FILM MARKETS. Cannes & Karlovy Vary Edition 2021, published on two occasions. Lumière, opened in 2011 and operated by the SFI, is locat- The first, Cannes Edition 2021 showcases new Slovak ed on its premises at the present day. In January 1991, the National Cinematographic films presented in Cannes exclusively in an electronic version. Centre was established as an independent public con- Which Slovak filmmakers will represent us? What Slovak tributory organisation managed by the Ministry of films are about to be screened at the prestigious festivals? Culture. By delimitation, the SFI acquired producer You will find out right on the first pages! rights to the archived Slovak films made before 1991. Moreover, we managed to boost the issue with more inter- Institute played a part in the preparation of the views, in which the respondents share personal insights extensive publication entitled History of Slovak Cinema into many aspects of production. (Dejiny slovenskej kinematografie, 1997; updated issue In the poll, a number of filmmakers will reveal their current 2016). In 2002, the SFI published its first DVD; since then, projects as well as their future plans. it has published dozens of other DVDs, which are now avail- In addition to introducing new films, we will also provide able with everything else related to films at the SFI’s on- an overview of new releases (DVD and Blu-ray) which were line shop Klapka.sk, opened in 2008. In 2002, the SFI started to implement the long-term integrated audiovisual infor- successfully restored by the SFI. mation system project SK CINEMA. Lastly, we summarise how Slovak cinema and distribution EUROPEAN FILM MARKET, In 2006, the Government adopted the draft Project did in the rough year 2020. of the Systematic Restoration of Audiovisual Cultural BERLINALE At the end of July, the Karlovy Vary section will be Heritage with the objective of rescuing cinematographic added to the issue, highlighting the Slovak representation and audiovisual works and gradually making them acces- at the festival in Karlovy Vary. sible to the public. This is the SFI’s long-term priority In August, you can hopefully look forward to the printed project. MARCHÉ DU FILM, version of the complete overview of the two largest sum- In the years 2011 to 2015, the SFI, in cooperation mer festivals Cannes & Karlovy Vary Edition 2021. ◀ with the Radio and Television Slovakia, implemented the FESTIVAL DE CANNES national project Digital Audiovision. During the project, 61,650 cultural objects were digitised. The project is sus- tainable over a long period and continues to reach its goal — Veronika Krejčová / executive editor — – digitisation of the audiovisual heritage of the Slovak Republic. The SFI’s digitisation workplace has become a permanent part of its professional workplaces. Film.sk, the only printed film monthly in Slovakia, has been published by the SFI since 2000. During the 21 years of its existence, it has undergone other format and conceptual changes, but the goals remain to provide a wide range of information and opinions from the domestic audio- visual environment, capable of appealing to film experts and the wider public alike. The website www.filmsk.sk has supported its printed version since 2001. ◀ content contributors

Mariana Jaremková Publicist and presenter. She collaborated with several editorial teams and worked for Film.sk for several years. Over a long period, she also cooperates with Rádio Devín, the programme service of Radio and Television Slovakia that focuses on art and culture. Jaroslava Jelchová Editor of Film.sk. Studied Mass Media Communication at the University of Ss. Cyril and Methodius film.sk in Trnava and Audio-visual Studies (FTF VŠMU). In cooperation with the Cultural Centre of Gemer- Malohont in Rimavská Sobota, she does audiovisual creative workshops for children from disad- vantaged backgrounds. Lecturer of the Film Cabinet for Children, an educational project of the Publisher: Slovak Film Institute Association of Slovak Film Clubs. Address: film.sk / Slovak Film Institute Mária Ferenčuhová Grösslingová 32 / 811 09 Bratislava Editor of Film.sk. Former lecturer at the Film and TV School of the Academy of Performing Arts Slovak Republic in Prague, where she also worked as a vice-rector (2004 – 2007). Author of the scientific monograph tel.: +421 2 57 10 15 25 e-mail: [email protected] Odložený čas (Time Delayed), co-author and editor of two more books on film. She translates prose, www.filmsk.sk poetry and non-literary texts from French. Author of five poetry collections. Editor-in-chief: Matúš Kvasnička Matúš Kvasnička Executive editor: contributors Editor-in-chief of Film.sk and publicist. Graduated from the Department of Audio-visual Studies Veronika Krejčová 3 (FTF VŠMU), majoring in film science. In 2003, he joined and later managed (2012 – 2019) culture Editing: 4 — 7 what’s slovak in cannes? Mária Ferenčuhová desk of nationwide daily newspaper Pravda. Jaroslava Jelchová 8 — 11 what’s slovak in karlovy vary? Editorial board: Peter Dubecký Miroslav Ulman Rastislav Steranka 12 — 19 interview: Katarína Krnáčová | Peter Kerekes Film publicist, researcher at the Slovak Film Institute, co-founder of the monthly Film Fan Marián Brázda (1990 – 1995) and founder of the first Slovak website about cinemaFilmsite (1997). Co-organiSer Miroslav Ulman 20 — 21 what are they up to? Simona Nôtová-Tušerová of several festivals, co-author of the book Sprievodca klubovým filmom (A Guide Through Club 22 — 25 interview: Viera Čákanyová | Martin Štrba Andrea Biskupičová Film), dramaturge of the Music & Film cycle at the Cinema Lumière. Holder of the Slovak Film English translation: 26 — 31 new slovak films: The Lines| Applause | Power | Critics Award. Simona Sklenárová, except pages 32 - 34 (Rastislav Steranka), Once There Was a Sea… | The Nightsiren | The Sailor Jana Dudková 35 (Ivana Musilová) Senior Researcher at the Institute of Theatre and Film Research, Slovak Academy of Sciences in Design & Graphic design: p & j 32 — 35 interview: Rastislav Steranka | Meir Lubor Dohnal Printing: Dolis Goen, s. r. o. Bratislava. Her main interests include postcolonial and multicultural studies, balkanism and 36 — 39 slovak classics on dvd and blu-ray: Havetta Collection | transcultural influences in Slovak and Balkan cinemas. Author of around sixty papers published Cover photo: in various languages, author of three monographs on Emir Kusturica, Serbian cinema of the Tenderness (1991) | The Shop on Main Street(1965) | Hanák Collection Rheum – Jakub Spevák / FTF VŠMU 1990s and Slovak cinema in the era of transculturality. 40 100 years of slovak cinema Film.sk is supported by the Ministry Erik Binder of Culture of the Slovak Republic. 41 10 years of kino lumière Film critic and publicist. Graduated as an architect, currently a PhD student at the Department The opinions of the editioral staff do not necessarily 42 — 45 2020 in fiction film of Audio-visual Studies (FTF VŠMU), from which he graduated in 2018. He lectures on world comply with the opinions expressed by the contributors. cinema and publishes on several portals and in magazines. Editor of the anthology Pavel Branko 46 — 49 2020 in documentary film – V znamení filmu a jazyka(In the Sign of Film and Language) about film critic Pavel Branko. 50 — 53 2020 in animated film Eva Šošková 54 — 55 distribution of slovak films in 2020 She works at the Department of Audio-visual Studies (FTF VŠMU), focusing on animated film. She participated in the preparation of the retrospective of Czechoslovak animated films for the Filmmuseum in Vienna. Every year, she reviews the past year’s Slovak animated films on various platforms.

Film.sk is supported by — text: Matúš Kvasnička — photo: nutprodukcia, Silverart, BFILM, CinemArt SK — “People with disabilities are often portrayed as cute, Not Enough to Be Just Good kind and a little silly in films. In my experience, this view is very In Saving One Who Was Dead, director and screen- limiting. On that account, when writing the screenplay, I tried writer Václav Kadrnka used the personal experience with to avoid false poetics or romanticising the mental disability. his father who suffered a stroke. Being emotionally in- Personal Stories David is supposed to be a complex character with positive and volved has pros and cons. “Václav was aware of the risk of negative personality traits,” says screenwriter and director not being able to distance himself. As a result, he approached Zuzana Kirchnerová about the main character of her writer and screenwriter Marek Šindelka who assisted with

what’s slovak in cannes? upcoming filmCaravan . “My son was born with Down syn- the screenplay,” Slovak producer Katarína Krnáčová from drome and gradually developed autism. However, my fiction the company Silverart tells Film.sk. “Václav’s films are dis-

5 to Be Presented in Cannes

— film is not purely autobiographical,” Kirchnerová explains. tinct auteur works, and he has developed a signature style With Ester, the female protagonist of the story, she said which allows him to handle the topic by setting it into per- to have in common the love for her child and the need spective," she adds. to protect him as well as the desire to escape sometimes. Kadrnka’s film was awarded at the Hong Kong 4 “The story channels a personal wish to rebel and resist the role Asia Film Financing Forum (March 15 – 17). The HAF of a mother of a disabled child. For a long time, I struggled to Goes to Cannes Award enables the participation in one of find a way to capture it without being drawn into the expected the most prestigious film markets in Cannes (July 6 – 15). smooth waters of social drama, into the pathos of emotional Saving One Who Was Dead was awarded at the Asian Forum blackmail. Road movie happens to be the best possible way also in 2018, when it was in the development phase. It re- how to express Ester’s almost aggressive hunger for life,” says ceived the main HAF Award for the best international Kirchnerová.

Breaking Taboos In Caravan, the mother and her son set out on a journey across Italy. The road movie is to be shot in authentic locations, and the filmmakers will be aided by an Italian co-producer that has previously worked, for example, on the successful film Happy as Lazzaro. Jakub Viktorín from nutprodukcia is producing the film on the Slovak side. The film also reflects certain negative emotions, almost disgust at times, which the son with a disability arouses in his mother, despite her love. The filmmakers are inclined to cast an intellectually disabled non-actor for the role. “What caught my attention was mainly how Zuzana Kirchnerová was dealing with the notorious subject of motherhood. On the one hand, she breaks a certain social taboo, at the same time, however, she shares a profound per- sonal experience, which for many years has affected her life,

both private as well as professional,” said producer Jakub Saving One Who Was Dead — Viktorín. “I am convinced that Zuzana’s talent and her strong director’s vision, combined with a unique story and screen- project, combined with a financial bonus of approxi- play, will lead to an exceptional and original work that has mately 16,000 euros. According to Krnáčová, the bonus the potential to contribute to important social change,” significantly helped developing the project, not only added Viktorín. financially. He recently completed the shooting of Michal “Every selection, grant or cash award indicates having faith in the project, increasing its potential to be suc- Caravan — Blaško’s feature debut Victim (Obeť). Two years ago, Blaško says Krnáčová. attended the LʼAtelier programme in Cannes, just like cessful," “Some people say that it is enough Kirchnerová now. The programme supports promising for a film to be just good, in consequence, it will surely find Czech director Zuzana Kirchnerová won in the Cinéfondation section at the 62nd Cannes Film Festival with projects and aims to connect less experienced creators its way to partners or viewers. Today, as a matter of fact, ◀ her graduation drama Bába (2008), which tells the story of a granddaughter and her dying grandmother. with more experienced ones. The current 17th edition such idea is akin to utopia." She is now returning to Cannes after being selected for the L'Atelier programme to present her upcoming has selected fifteen projects. Caravan is only the third film Caravan (Karavan). At Marché du Film, another Slovak minority film will be presented –Saving One Slovak (co-)produced project to take part. In fact, the first was (dir. György Kristóf) in 2015. Who Was Dead (Zpráva o záchraně mrtvého) by director Václav Kadrnka. A bit earlier, in June, the festival Out On the Slovak side, in addition to Jakub Viktorín, in Annecy world-premiered two Czech animated films, both also co-produced by Slovakia. actress Juliána Brutovská and DoP Denisa Buranová [Little Harbour (Piata loď)] participate in the film. 6 — 7 what’s slovak in cannes? co-production and won Jury Award at Annecy. Annecy. at Award Jury won and co-production Czech-French-Slovak in a made was which film, of the co-producer Slovak the became BFILM company the from Frišta novel Procházková’s Petra journalist Czech famous on based was it and differences, cultural and feminism as such topics the discusses story The exclusively. mation Maad Pavlátová, For Pojar. Břetislav director by the festival presented when 1993 in Annecy in competed feature last the years, thirty almost after acomeback makes Republic Czech The competition. main the for film of the selection the announcing when of May end the at commented Jean Marcel Director Artistic festival’s Annecy the year!" the of films awaited eagerly most of the one doubt, Without Afghanistan. in of living experience woman’s aWestern about subtlety and of nuances full story atouching It is 2012. in Film aShort for Cristal the awarded director female bya film feature first her. awaits life of what idea any or having family his knowing without Afghanistan to him following Afghan, an Nazir, with love in falls who woman, aCzech Herra, alias of Helena story the tells Pavlátová Michaela tor constitutes a feature debut, with regard to ani to regard with debut, afeature constitutes

, which takes place in Afghanistan. Peter Badač Badač Peter Afghanistan. in place takes , which Feature animated film by award-winning direc- award-winning by film animated Feature Annecy: Competing Competing Annecy: After Thirty After Years The Flying Sneaker Flying The My Sunny Maad Sunny My “ My Sunny Maad Sunny My (Moje slunce Mad) Mad) slunce (Moje My Sunny Maad Maad Sunny My (Motýlí čas) čas) (Motýlí My Sunny is the the is

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- , or or Hotel Sunrise film. film. collaborated. already by followed Managing Director Managing Promotion Film European Sonja Heinen, by addressed is demic situation develops,” pan- the how on of planning dependent be not would that sense aclear participants the give to us for important itand was year. second for the online held was it of fact, amatter As du Film. Marché market film the as well as festival Cannes the with connected is Promotion, Film European organisation national inter- the by sponsored programme, The Badač. Peter and Urban Marek Krnáčová, Katarína Kollár, Michal Panáková, Škop, Silvia Marko by, forresented example, rep was Slovakia projects. their present and network professional their expand producers, the to publicise aims which programme the in participated since have Europe over all from producers 450 almost and 2000, in lished Vojtěch non-actor Zdražil. and Bárdos Judit actress Tambrea, Slovak Sabin actor German involves cast role. lead The the plays Bielenia Bartosz actor Polish action,” further Jelenek take Michaela to Juraj producer and Lehotský director which both forced restrictions pandemic of the time at the place taking cast, international with an shoot plicated with debut film fiction his made Loves Blind documentary successful the of Director well. as to fiction Servants “The challenge of challenge “The

The Producers on the Move initiative was estab- was initiative the Move on Producers The documentary from moved gradually Lehotský Juraj Tomková describes the filming, in which the which in filming, the Tomková describes (Slepé lásky, 2008, C.I.C.A.E. Award – Cannes FF) FF) –Cannes Award C.I.C.A.E. 2008, (Slepé lásky, (Služobníci, dir. Ivan Ostrochovský, 2020). Ivan Ostrochovský, dir. (Služobníci, Nina (Hotel Úsvit, dir. Mária Rumanová, 2016) Rumanová, Mária dir. Úsvit, (Hotel (2017), on which Katarína Tomková (2017), Katarína on which . Applause Applause photo: photo: ◀ the shift to an online initiative initiative an online to shift the “It worked very well last year, well last very “It worked archive of Katarína Tomková Tomková Katarína of archive is Lehotský’s third fiction fiction third Lehotský’s is definitely involvedcom- a

— text: — text: Miracle Matúš Kvasnička (Zázrak, 2013), (Zázrak, - — — — text: Matúš Kvasnička — text: Matúš Kvasnička, — photo: Lucky Man Films — Kristína Aschenbrennerová — photo: Arsy-Versy, MPhilms, nutprodukcia, PubRes — what’s slovak in karlovy vary?

9 Triumph of Will — A biographical film about one of the greatest sporting heroes of the former Czechoslovakia was supposed to reach audiences last year. However, the premiere was postponed. The creators intended for the film to be screened in summer, in the cinema and during the Olympics. Nevertheless, the Olympics were put off too. The same applies 8 for the Karlovy Vary festival, this year, as an exception, it takes place at the end of August. Shortly after the end of the Summer Olympic Games in Tokyo, it is to open with the world premiere of Zátopek by director David Ondříček.

Perhaps the most famous Czech sporting couple Summer Olympics in Helsinki are a natural dramatic Dana and Emil Zátopek’s memories and experiences were climax. Zátopek almost missed it because he stood up for published in 1960. Dana Zátopková followed up with a book a colleague whose dossier was negative at a time when in 2016. She also describes their lives during normal- harsh political processes were raging in communist Czecho-

isation period and provides diary entries of the late Emil slovakia. Finally, both travelled to Helsinki – Zátopek, — At Full Throttle Zátopek. Director David Ondříček was one of the first a defending champion from London. He won three more readers of the memoirs. He read the manuscript at the gold medals, and his wife Dana won an Olympic gold too. sportswoman’s house, wearing borrowed slippers from “It is necessary to bring a new perspective on Zátopek and its her husband. Emil Zátopek passed away in 2000, his time. Political issues cannot be avoided. Politics played a sig- wife Dana last March. She was consulted about the nificant role in Zátopek’s life. Living in an incredibly difficult Five New Slovak Films film, which was also made with her consent. time, he was not always able to navigate it. We strived to con- Gaining her trust was not as easy as it might vey it accordingly,” the director explained in the explication seem from the previous lines. And that was just the for the Slovak Audiovisual Fund, which also supported Compete in Karlovy Vary beginning. The expensive period film, in which about the film. The Slovak co-producers ofZátopek are AZYL 750 historically accurate costumes were used, received Production and Radio and Television Slovakia. Part of From 20 to 28 August, the 55th Karlovy Vary International Film Festival programme will offer several support from the Czech Film Fund only on the third the post-production took place in Slovakia, and several Slovak co-production films. Four of them are shown in the main competition. For the first time, attempt. Besides, the filmmakers could not shoot at the Slovak actors were cast – Milan Mikulčík, Peter Nádasdi the main competition section of the festival will also open to documentaries. original stadiums in London and Helsinki, which wit- and Peter Kočiš. nessed Zátopek’s Olympic successes. After adjustments Ondříček began working on the film about six Twelve works will compete for the Crystal Globe. by architect Jan Vlasák, they were fully replaced by years ago, but the idea was born much earlier. Musician Za Lužánkami stadium in Brno in front of Štěpán Kučera’s Jan P. Muchow came up with it in 2007. As a composer, Selected documentaries include At Full Throttle and his life was full of unsolvable situations which are hard camera. Period realities, costumes, architectural adjust- he collaborated with Ondříček on all five cinema fea- (Láska pod kapotou), the latest film by director Miro Remo, to come by for most people,” said the director. According ments or complex, not only physical, training of actors tures – on the cult generational statement films with who is also one of the co-producers. In the past, Remo’s to him, Jaroslav’s story represents many similar ones in for their roles significantly impacted the budget. At the the screenwriting participation of Petr Zelenka [Whisper documentary on rehabilitation of prisoners Comeback which the loss of illusions did not lead to surrender. beginning of the preparation, it was estimated at more (Šeptej,1996); Loners (Samotáři, 2020)] as well as on the (2014) and a portrait of a prominent Slovak musician than 90 million Czech crowns (approximately 3.6 million film noir detectiveIn the Shadow (Ve stínu, 2012) which Richard Müller This Is Not Me (Richard Müller: Nespoznaný, Kids Made for Success euros), and Zátopek became one of the most expensive received nine Czech Lions. In the sixth film, Muchow 2016) were in the official selection. From the beginning, While Slovak director Remo shot in the Czech Czech films. Javelin thrower Dana Zátopková is played additionally took up the role of Ondříček’s co-writer. the intention was to shoot a genre documentary from Republic, Czech director Erika Hníková found the pro- by Martha Issová, while Václav Neužil was cast for the In the end, Alice Nellis lent a hand and highlighted the a racing environment. “We were looking for a life of put- tagonists of Every Single Minute (Každá minuta života) in role of Emil Zátopek. “How far I can throw is not as impor- role of Dana in the story. ting up a good fight, and we found a good fight for one’s very Slovakia. She was inspired by the story of a successful- tant as making the throwing technique believable,” Issová said “Zátopek is the story of an outsider, a boy with a own life,” Remo says on his website in an interview with ly drafted 18-year-old hockey player by the NHL team, about the preparation for the role. Neužil lost 7 kilograms squeaky voice who was often mistaken for a girl and, basical- Czech producer Vít Janeček. Slovak and Czech public coming as a result of his parents’ detailed and planned for his role. In addition to running, he had to master ly, not much of an athletic talent. At the same time, it is the televisions and both national film funds took part. The effort. At that time, Hníková was exploring the question Zátopek’s signature movements as well as speech. story of a man with great will and ambition to win, stubborn protagonist of the film is an ex-miner Jaroslav, who set up of the extent to which parents should plan their children’s The long-distance runner was the first in the and unbroken in spirit, one who became a legend. A lonely, a business after the revolution in 1989. Later, he found lives in advance. She was looking for answers in the city world to break the 29-minute barrier in the 10,000 metres. thoughtful runner, however, at the same time, a cheerful chat- himself up to his neck in debt, and his marriage and of Žilina in the Hanuliaks family. The young couple ad- Even before that, he astonished the world by a perfor- terbox who longs to be admired. Zátopek was an athlete with relationships with children fell apart. Today, he lives justs everything to raising a top athlete out of their son mance at the Olympics in London and four years later in a huge desire to defeat his rivals and then lovingly dedicate with his girlfriend Jitka. At the same time, they form Miško. “The Hanuliaks are interesting not only for extreme Helsinki. However, his story is not just a sports drama, them a gold medal,” summed up David Ondříček. ◀ a duo of a racer and a coach / car mechanic. “We were upbringing of their son and their just as extreme sacrifice for it also brings political and family themes. The 1952 looking for a character with a compelling internal conflict, him but also for their relationship, family background and

values which they share,” said the director whose documen- the extent to which the creator's strong emotional involve- Slovak Promises in the Eastern Promises Šikl’s documentary Reconstruction of the Occupation taries The Beauty Exchange (Ženy pro měny, 2003) and I Guess ment in the project constitutes either an advantage or The industry section of the Karlovy Vary IFF (Rekonstrukce okupace) will have its world premiere. We’ll Meet at the Eurocamp (Sejdeme se v Eurocampu, 2006) a disadvantage. “If the topic has not yet been processed, it is no exception to the strong presence of the Slovak The director happens to be a long-time collector of am- were awarded at the Jihlava festival and Matchmaking should not be just cobbled together, however, this was not production in this year edition. Composed of several ateur family films, and the film presents hitherto unpub- Mayor (Nesvadbov, 2010) at the Berlinale. Václav’s case,” adds Krnáčová. Kadrnka’s previous film programmes dedicated to different aims, the selections lished footage from almost a four-hour-long recording Little Crusader (Křižáček) won the main award for Best include two Slovak feature film projects in the post- of the invasion of Czechoslovakia by the occupation Winners Return Feature Film at the Karlovy Vary IFF in 2017. production stage. forces in 1968, discovered thanks to his hobby. The Slo- Slovak co-producer of Every Single Minute is This year, Works in Progress accommodate films vak co-producers are PubRes and Radio and Television Punkchart films, producing also Olmo Omerzu’s new Feral Ones from fiction to documentary spectre, as the organisers, Slovakia. The Special Screenings section is to present feature The Bird Atlas (Atlas ptáků). His previous film Furthermore, Slovakia is to be represented in as in above mentioned sections, concluded them “despite Michaela Pavlátová’s My Sunny Maad (Moje slunce Mad). what’s slovak in karlovy vary? Winter Flies (Všechno bude, 2018) won the Best Director the second competition section of the festival East of the their differences, to possess the same artistic value”. Conse- On Slovak side, the film is co-produced by Petr Badač’s Award in the main competition in Karlovy Vary. After West, for which twelve films were selected. The section quently, they indiscriminately vie for the same awards. production company BFILM, and it world premiered 11 three films with protagonists who have not yet crossed provides an opportunity for debuts and second features The presentation of the projects in the Works in Project in June at the festival in Annecy. The story of a Czech — the threshold of adulthood, Omerzu enters the adult from Central and Eastern Europe, the Balkans, the for- line-up will be taking place online. From the applications, woman who falls in love and leaves for the unknown world and provides a confrontation of an aging successful mer Soviet Union, the Middle East and North Africa. the industry team selected Victim (Obeť), a feature debut country of Afghanistan won the Jury Prize in Annecy business owner and a company’s accountant with (virtual) Co-produced by Mátyás Prikler and Zora Jaurová from of Michal Blaško. The film further plays with the ideas and thus expanded the large collection of awards for 10 reality. According to him, The Bird Atlas, starring Miroslav the company MPhilms on Slovak side, the film Wild Roots introduced in the short March (Pochod, 2018), also writ- Pavlátová’s films. Donutil and Alena Mihulová, tries to capture the present (Külön falka) directed by Hajni Kis was selected for the ten by Jakub Medvecký. A young Ukrainian boy Igor Traditionally, filmmakers who are presented

Victim — Reconstruction of the Occupation —

claims that he was assaulted by three young Roma. His at the festival within the European Film Promotion Wild Roots — mother Irina demands justice and is met with great soli- Future Frames programme have every prospect to be time and its metamorphoses, generation gaps but also competition as well. Kis already attracted attention with darity by her new society. The mother is ready to stand just as successful in the future. With the subheading globalisation. It depicts the world of modern communi- her student works. Her short filmBeautiful Figure (2016) by her son no matter what. Until the moment she real- of Generation Next of European Cinema, every year, it cation technology as well as its weak points, while com- was nominated for the Student Academy Awards and ises that his narrative is full of loopholes. offers the opportunity for ten selected promising stu- plicated family relationships contribute the element represented Hungary at more than a hundred festivals. The co-operation of the festival with First Cut Lab dents or graduates to present their works to the audience of suspense to the story. The tension and anxiety keep The graduate filmLast Call (2018) was broadcasted on HBO and First Cut+, two interconnected programmes founded and the media at the festival as well as to meet with building up, yet it is unclear who stands against whom. and ARTE televisions. In similar fashion, her feature and directed by Matthieu Darras is dedicated to film the curators of other festivals and to network. For the “We believe that our new joint project, thanks to the topical debut is also based on personal experience. The main editing (First Cut Lab) and further boost through pro- programme, the films are nominated by national rep- issue and tension, will be a direct continuation of the success character of Wild Roots is quick-tempered ex-con Tibor motion and distribution strategies (First Cut+). Also resentatives of EFP, while Slovakia is being represented of previous films,” said co-producer Ivan Ostrochovský who works as a bouncer in a club. He had not seen his thanks to its participation in the special First Cut Lab by the Slovak Film Institute. Last year, the programme from Punkchart films about the third collaboration daughter for seven years, and the grandparents, with Slovakia, Power (Moc) by Mátyás Prikler continues in introduced director Matúš Ryšan and his film Out of Pure with the director. whom the daughter is growing up, would prefer it to postproduction also with the First Cut+. This might be Conscience (Pre čisté svedomie, 2020) online. This year, The second Slovak minority fiction film in the stay that way. But twelve-year-old Niki apparently in- the first-time experience for Mátyás Prikler to take part Future Frames will take a hybrid form and provide an main competition happens to be Saving One Who Was Dead herited something from her father’s wild nature and, in the role of director – as the producer, he took part in industry focused event online and an on sight presentation (Zpráva o záchraně mrtvého) by director Václav Kadrnka. despite being forbidden to do so, seeks him out. the programme last year with Wild Roots. of the films at the festival. Slovakia will be represented It was created in co-production with the Slovak company Although the Karlovy Vary IFF did not come by Kateřina Hroníková and her feature Rheum (Ospalky). Silverart. The story is based on director’s personal expe- about last year, the Industry section Eastern Promises Unseen Occupation of Czechoslovakia and Prospects The main characters are Libuša and Jaromír. Years in rience with his father suffering a stroke. “It all depends on took place online. Wild Roots won the Works in Progress for the Future a vicious circle of routine, despite their physical close- the extent to which the filmmaker has dealt with the topic,” TRT Award. More Slovak works will be showcased in the ness, led them to emotional alienation. But the change Slovak co-producer of the film Katarína Krnáčová addresses Special Screenings section of the festival in which Jan is in the air... ◀ — text: Matúš Kvasnička — photo: Miro Nôta — interview 13 — Either We

12 or the Internet and YouTube Will Educate the Viewer

Katarína Krnáčová produced Little Harbour (Piata loď, 2017) by Iveta Grófová which won in its respective category at the International Film Festival Berlin. Thanks to the HAF Goes to Cannes award, her latest project, the Czech-Slovak feature Saving One Who Was Dead (Zpráva o záchraně mrtvého) by director Václav Kadrnka is heading to the film market in Cannes. Krnáčová also produces Martin Gonda’s feature debut Flood (Potopa), whose student filmPura Vida (2019) was screened in Cannes within the Cinéfondation section.

When a film is screened at a festival, it feels like a bonus for various awards or the success of their previous film. that can be advertised on a poster. How about other reasons why festivals are essential? Becoming a hit with cinema audiences will probably Festival life is very important, some Slovak be a challenge after the pandemic. films may tour up to 50 festivals, often reaching more I assume that the spectators will not return viewers than in domestic cinema distribution. Therefore, to the cinemas in as great numbers as before. In order festivals are not a negligible complement, they often rep- to attend, they will have to be further motivated. Many resent the main distribution. Selling a film for cinema people are about to be satisfied with the online space, distribution abroad has constituted a large difficulty and a group of spectators remaining loyal to cinemas before, and it is going to be even worse after the pandemic. will choose films more carefully. In fact, it may be film Cinemas all over the world will want to make up for the art that could provide a completely different experience financial losses by screening blockbusters as well as sup- of the big screen than what our home space offers. On porting and saving their domestic production. The posi- the other hand, there will be no shortage of significantly tion of festivals is still about to be very firm, they will commercial blockbusters crammed with effects, taking continue to be a valuable space for personal get-togethers full advantage of modern cinema technologies. I believe of filmmakers and viewers from around the world. the viewer will come specifically for a particular film, avoiding a random selection. Moreover, speaking of more You are producing Martin Gonda’s Flood, whose short demanding art films, they are often made to be screened Pura Vida premiered in Cannes. Does the festival success at cinemas. The filmmakers oppose releasing their work help fund the next film? online where, in addition to questionable internet secu- Cannes is probably the strongest brand in this rity, they have no idea who is watching and on what respect and can only be compared to a few similarly im- kind of screen. portant and large festivals. When a film competes with thousands and makes it into the Cannes programme, For example, on mobile phones. it happens to be a great honour for Slovakia as well as Luckily, I never crossed this line. an appraisal for the author and their team. With their next film, the starting position is going to be definitely However, there is a generation for which it became more advantageous compared to the others. This is often a standard. You released Summer Rebels (Letní rebeli) perceived as such by fund commissions, although the last year, now you are a co-producer of the bigger inter- support designated for another project is not automatic, national collaboration How I Learned to Fly (Ako som the project must always prove to be of high quality. A num- sa naučila lietať). Will viewers show up for domestic ber of other criteria are taken into account in terms of family films? the success of previous works. The filmmaker will also Without educating the viewer, I am afraid score points for the reception at several smaller festivals, that such films, especially after the pandemic, will → wind up either online or on television. There used to be value were found by the workers during the reconstruc- a tradition of family films, but the continuity was broken. tion of the manor, rolled up in various tubes in the walls.

interview The idea that a whole family goes to the cinema to see The Baroness was an incredibly strong woman, though a film that is understandable as well as entertaining for thin, short and in poor health. I was also fascinated by

15 both children and parents or grandparents is becoming the opportunity to show the intellectually full life of — increasingly rare. It is more convenient for a parent to the aristocracy, a social class that was devastated and turn on the TV for kids and just go and do something suffocated by 20th-century regimes. The state of society else. So, it also raises a question of whether we aim to today is largely related to the fact that we once destroyed

14 educate the generation clinging to Youtube, or we will part of the intelligentsia. In our period films, aristocracy introduce them to the cinema world, bringing up com- is mostly portrayed as an exploiter who treats their sub- pelling topics. Optimists believe that after the pandemic, jects as they please. We are lacking films that would people are about to be hungry for experiences and opt for depict their pros and cons and draw attention to the a cinema. I think they may rather have a barbecue or enormous cultural and intellectual contribution. attend an open air concert. At the cinema, which is an enclosed space, they could possibly ask: Is it really safe? Do you already have someone in mind to play Moreover, many do struggle with financial problems, the Baroness? and a family visit to the cinema accounts for an expen- The series based on the book by Silvester sive concept. As producers, we will have to be more Lavrík will capture the period of six or seven decades, adaptable and much more active to attract the viewers. so the role may be divided between two actresses. I think that the main character will be from Slovakia, but for- How “audience-oriented” will Saving One Who Was eign co-productions can also engage in the selection, Dead by Václav Kadrnka be? When his Little Crusader so I do not exclude European names either. Whether (Křižáček) won in Karlovy Vary, it stirred a discussion the material is interesting and understandable abroad about being “defiantly not an audience darling”. is now being examined, for example, at the workshop In this manner, Little Crusader is truly am- intended for television series MIDPOINT TV Launch. biguous. Viewers either loved it or hated it. Nothing in A preliminary interest and an acceptance letter from between, no chance that it would receive a lukewarm Betafilm equates with stepping out in the open, so to reaction. For me, it was a total delight. Looking forward speak. They are one of the largest TV distributors in to it, I saw it in the cinema on the big screen, which is Europe, fond of the material, so we are in touch. fundamental, and I was ready for this type of film. A view- er going to the cinema must be willing to be percipient. The Last Baroness is at the beginning of the journey at Vašek filmed Eighty Letters (Osmdesát dopisů, 2011) be- the end of which is Stand up, a film waiting to be com- fore Little Crusader, and Saving One Who Was Dead concludes pleted. It happened to be the first intentionally green the trilogy in a way. These films share a lot in common, filming in Slovakia. How did the crew react? but Saving One Who Was Dead seems to be the most acces- If there seems to be little talk about green sible one. The illness of a loved one is a topic that many filming today, the truth is that it was not discussed at can relate to. Adapted in the form of a film poem, if the all in our country two years ago. From the beginning, viewers open up, they can be almost enchanted by its therefore, I did not underestimate the communication purity and sincerity. I do not expect it to attract the masses, with the crew so that the ecological changes were not „When you say ‘green filming’ out loud, people panic such ambition was never taken into account. However, perceived as obstacles to be dodged but rather under- it can certainly reach a wider audience. stood in the broader context. It was exclusively our pro- because they cannot imagine it, but these are really duction, and I could organise the shooting in compliance What captivated you about Margita Czóbelová, about with my own wishes. I wrote down ten items that related small steps that will not burden anyone.“ whom you are developing a series The Last Baroness to various parts of production – drinking water, travel, (Posledná barónka)? lighting... However, it was clear to me that if someone She was born at the end of the 19th century is not willing, I cannot force them, so I avoided giving into the “rose-coloured” world of the aristocracy. When orders and imposing bans. The “Green Ten”, for example, she grew up, the First World War came, the end of the did not demand that you should not drink from plastic monarchy, then the second war and the Bolsheviks... bottles, but it submitted that we would all receive our Completely disparate worlds than the one they had been own reusable water bottles. We tried to make obeying preparing her for years. She lived her whole life in a manor the Green Ten to be more attractive through various house where she was born, successfully coped with all challenges, and I added ecological trivia to my daily dis- the challenges, and she was smart and brave enough to positions, such as how big an impact on the environment preserve the heritage of the whole family, the manor as can have a small change in behaviour, for instance, prop- well as the huge artistic legacy of her uncle Ladislav er waste sorting. When you say “green filming” out loud, Medňanský. Nowadays, it is under the administration of people panic because they cannot imagine it, but these the Slovak National Gallery. Many art works of enormous are really small steps that will not burden anyone. ◀ — text: Mária Ferenčuhová — photo: Miro Nôta — interview 17 — Searching 16 for Magical Moments

Slovak cinema was experiencing a difficult time in the 1990s. After the year 2000, director Peter Kerekes significantly contributed to its revival with his feature-length documentary films. After almost 20 years, his signature style has evolved and transformed, as manifested in his new film107 Mothers (Cenzorka), which will compete in Venice within the Orizzonti section.

When 66 Seasons (66 sezón) came out in 2003, you were What is the ratio of your directing-producing “forces”, the first filmmaker from the young Slovak generation since Ivan Ostrochovský also directs, and you also to make a documentary feature that was released in produce? cinemas. How do you perceive your beginnings today? With Velvet Terrorists and 107 Mothers, there Throwing myself into working on the film was a completely different relationship between me and 66 Seasons, which I produced as a self-employed person Ivan. He invited me to cooperate on Terrorists. So, it was with a budget of 2.5 million Slovak crowns, was a pure a sort of commission, albeit a looser one. Ivan and Palo irresponsibility on my part. From a financial point of Pekarčík asked me to assist with the structure. Luckily, view, it was almost insane to plunge into such a project. they did not accept my proposition. At work, we follow Until then, the only documentary feature that was re- a single clue – it is such an instant self-reflection – to be leased in cinemas after the establishment of the independ- able to recognise the vivacity. For this, we have one very ent Slovakia was Dušan Hanák’s Paper Heads (Papierové important filmmaker in the crew, Martin Kollar, who is hlavy, 1995). However, we started filming with such a punk our DoP. He epitomises the litmus test of whether what we commitment that it had a happy ending after all. The film do is genuine or it is just about maintaining a structure. was screened at festivals as well as distributed inter- nationally. In fact, nothing has changed since then: With How does it manifest itself? 107 Mothers, we embarked on a large project without sig- As soon as he starts adding smoke in the back- nificant financial backing once more. In addition, we ground or wondering if something should be burning in actually spent all the funds earmarked for development the back, I know that he does not enjoy what is going on on filming. Again, it was irresponsible because we were in front of the camera. The other way around, when it is shooting without a relevant screenplay, we changed the compelling, it doesn’t really matter that there are just two subject twice during the filming, and the only thing medium close-ups in which the protagonists merely talk, that kept us going was the punk enthusiasm: We knew Martin keeps rolling because he recognises the quality. that somewhere in the material the film was hidden, we just had to get to it. The topic of 107 Mothers was originally very broad – the censorship: in art and public space or regarding Before 107 Mothers, you co-directed Velvet Terrorists letter communication in prisons. How did you narrow (Zamatoví teroristi) with Ivan Ostrochovský and Palo it down? Pekarčík. What did the collaboration with Ivan, At the beginning, there was a large documen- the producer of 107 Mothers, mean to you? tary mosaic of various censors. One part of it consisted For me, the most interesting part was to start of prison guards who censor love letters. This took us to considering the film in a different way. To observe the Odessa, where we met Irina Alexandrovna. And she fasci- present rather than telling stories from the past, as in nated me. Representing such a full-blooded and interest- 66 Seasons or Cooking History (Ako sa varia dejiny). The un- ing character, I knew right away that she would be at predictability of the direction in which the film is head- the heart of the film. Suddenly, other things gradually ing piques my curiosity, and we have already outlined began to fade away. At once, it started to turn from a docu- 107 Mothers to search for magical moments that arise mentary into a hybrid film, built around Irina. I realised from the protagonists’ interactions. that she was always at her best only in interactions. In → such a way, the individual aspects of her personality can be Did you lack women in the crew? The concept of the film revealed – acting nice towards someone, but she rebukes is, perhaps a little stereotypically, female-focused, but interview the other, and afterwards, it turns out how lonely she is. the prison institution is, again stereotypically, male. It drew my attention since Irina leads a very organised Stereotypes are challenged by the prisoners themselves, 19 life yet remains on her own. On the other hand, she is especially Irina, who – dressed in a uniform as well as —

18 confronted with women who have three children, each in a bathing suit or a bathrobe – mixes up the gender from a different man, whose lives are disorganised, but roles a bit. still – they have the children. Even though they quite We realised that we were a male crew, but

burdened them: The kids are growing up in the nick it did not bother us much, we were not itching to hire because of the mothers committing a crime, however, a female camera operator just to have a woman among they still want to give them a chance, though a small us. It is not about a gender perspective. The fundamen- one, that their children will be happy one day. Irina did tal question concerns everyone: Who is really interested not give anyone such an opportunity – and I just liked in our lives? Who cares what we truly think, without it. You can live a “happy”, organised life, but you might pursuing their own interests or judging us? It was a huge be alone, and you can lead a life full of problems, how- luxury for me to be able to sit with the protagonists and ever, you do have at least someone, something. just talk to them. It has facilitated creating a space for stratification and trust. However, there is nothing strange How did you feel regarding such a female topic? about that – one opens up when feeling others’ interest. We started filming in a men’s prison. We had 22 filming days with men, practically, the whole film was How did you make the final cut? done. It made an excellent teaser, which the men com- We were choosing from a huge amount of plemented with one-liners, but I did not gain any deeper material and from several storylines. Some had to be insight. When I looked at the interviews made in the men’s scratched, such as the prison wedding one. A friend of prison, almost nothing could be used in the film. On the the protagonist, the imprisoned mother, was to marry. other hand, we would be able to make an interesting film We filmed visits, censoring of the love letters, even a wed- out of women’s prison based only on research interviews. ding night with erotic scenes, but it was not included in the film in the end because it would distract us from the Why was it so? main storyline, which is about finding a foster home for Apparently, it was all me. Those men certainly the main character’s son. We were noticing something, have very interesting inner worlds, fears, dreams, ideas, a situation, some scene, and we shot it straight away. however, I could not get it out of them, while women That is how we worked. In this manner, for example, the opened their hearts to me. A big plus was that nothing scene of the beginning of the school year, where prison- was based on a presumption. Curiosity was the driving ers are dressed in school uniforms, made it into the film force behind the film. For example, take a question about – it is such a post-Soviet tradition. Not only a visually the limits of love. I was most interested in women who interesting motif, it also constitutes a strong symbol that killed their husbands out of jealousy and the very con- showed the mother and her child in a different light, tradiction of it – you love someone so badly that you especially in the context of the prison. would rather kill them than lose their love or share it with another person. You made historical films, even slightly experimental ones, as well as a series on counterfactual history. Here, however, heat of passion can interfere, sometimes What about making a mockumentary? even pathologies. Were you able to stay impartial? I am not interested in imitation. I am curious There was no need for labels, I only wished about how people express themselves in a film, not what to talk to them. Yet, one cannot just walk into prison imitates reality. and say: “Hello, I’m Peter Kerekes, could you please tell me why you killed your husband?” But if you have a film What about a feature with quite a fixed screenplay, crew, you have an excuse. So, in the film, we requested not just an outline? Irina to ask, even though those are my words: “Why did I have just finished adapting the text of Dušan such an educated and intelligent woman end up in prison?” Šimek Marathon of Juan Zabala (Maratón Juana Zabalu) At once, the older lady explains in front of the camera: with Juraj Raýman. The film will be a historical epic, there- “Love.” Then, almost proudly, she elaborates that she killed fore, a storyboard and precise schedule is a must. It rep- her husband’s mistress with two blows to the head. Not one resents something completely different again, new, but blow. Two. Afterwards, she turned herself in. As I see it, that is what makes me excited about directing. ◀ that is what defined the relationship of those women to- wards me. I was truly just curious. Not asking for anything, not bossing them around to say this or that, I only listened. 20 — 21 what are they up to? At the moment, I am traveling by train to Bratislava, we we Bratislava, to train by traveling Iam moment, At the ] filmmaker documentary and [ director Piussi Zuzana train. by traveling Ilove continues... search the So, ones. tolerant more and better the are liberals why sense makes it Suddenly, debate. intriguing an initiate can film agood that I believe since discussion the about curious am I out, comes film the After bubbles. other in of those motivations and feelings the understand to able be to and bubble social their outside world the at look to people guide to attempt an ideology, without analysis an is tant impor- is What world. the in dots the all connect” “wisely is do to have you all videos, with overwhelmed are we filmed, been already has everything that myself to I say Curtis. 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The project is created in created is project The 1979. in , published (Ema a smrtihlav, SK / CZ / HU) by Iveta Grófová Grófová Iveta by /HU) /CZ SK asmrtihlav, (Ema (Piata loď), Berlinale 2017, Crystal Bear for for Bear 2017, Crystal Berlinale loď), (Piata (Muž so zajačími ušami). The premiere premiere The ušami). zajačími so (Muž Convictions Convictions: My Life with a Good aGood with Life My Convictions: , adapted for television television for , adapted Filthy Ema & Ema The Man Man The (Špina), (Špina), the weather will be nice. be will weather the when 2022, in sometime celebrate to I wish and residence, permanent my It is Bratislava. in Street of Palárikova 120 the on book documentary experimental an preparing also Iam else, of everything top On developed. being is times feminism the in love and relationships about adocumentary Moreover, Fund. 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through natural elements. ◀ elements. natural through sorrow of feeling the with deals that film experimental ashort developing and project exhibition an curating am I Berlin, Künste der Universität the at film mental experi Istudy time, same At the strategies. healing of collective possibilities the explores and lives our howexamines present anxiety-inducing affects society thefilm people, of group a Through Slovakia. and Republic Czech the Berlin, in internationally developed being – author an as debut my concerns It especially well. it as reflecting while of anxiety topic the by inspired were that projects art and film on mainly Ifocus Currently, [ documentary filmmaker, photographer ] and journalist Ďurinová Paula Galileo: by spired in- Iam particular, In diversity. for Ilook work, my In festivals. various tour to continues zNigérie) (Pozdrav comedy absurd My written. being still – Tiger Easy producer the French with film Daddies series television daily of a filming in participate probably Iwill summer, the During života). môjho týždeň series a comedy of season second the writing are we screenwriters, and Kelíšek Peter producer with addition, In Bratislava. in Arts of Performing Academy of the Faculty Television and Film the at studies Film of Live-Action Direction my finish to acomedy aľuďoch)], (O sliepkach [Samorast film student my completing I am ] [ director Peter Hoferica Insides (Oteckovia). Meanwhile, I am preparing a short ashort preparing Iam Meanwhile, (Oteckovia). (Interiéry), a feature documentary which is is which documentary afeature (Interiéry), The Worst Week of My Life My of Week Worst The Better if it moves if it Better Greetings from Nigeria Greetings from Maverick (Of Hen and Men) . (Najhorší (Najhorší Dear Dear -

— text: Mariana Jaremková / film journalist— photo: Miro Nôta — interview 23 — We Cannot Imagine

22 an Emotionless Gaze

Last year, Viera Čákanyová’s filmFREM had its international premiere at the Berlinale shortly before the cinemas closed. Czech film critics later described it as the audiovisual achievement of the year. With White on White (Biela na bielej), the director triumphed at the Ji.hlava International Documentary Film Festival in the Opus Bonum section and won the award for the Best World Documentary Film.

Interesting to see how short the time was for FREM and During the day, it is good to have at least an elementary White on White to acquire new meanings. In addition, routine, time reserved for work and rest. That is what I am the viewer’s reception of FREM depends to a large extent striving for. I need exercise, so I walk a lot – going on foot on the viewer’s experience, which is new at present. to the editing room, wandering. When walking, one is How do you perceive it? able to clear their head easily. Besides, I am teaching I don’t know if the experience of potential remotely at the Documentary Film Department of the viewers can be generalised. Regarding the notorious bub- Academy of Performing Arts in Bratislava and finishing bles, in which people live, there is less and less intersection, the third part of the trilogy at the same time. I find it and it was probably only intensified by the pandemic. a little amusing, yet one more film is on the way, which Everyone’s experience is slightly different – it depends on broke loose from the swarm of points around the FREM’s whether they have children, what type of job they have, theme. The whole film is shot on 8mm and 16mm material, where they live, what their personality is and how they plus I have some lidar scans (digital 3-D representations manage stressful situations. There are people who hardly of areas created by a laser). The material is more or less noticed the pandemic. Others work 12-hour shifts at shot, so the situation suits me this way. As was the case Covid-19 hospital wards. This represents an extreme range with White on White during the first wave, I can enjoy of experiences, and there are a million shades of grey in working in the editing room. Only that the first phase between. I am aware of the fragility of the system of social of editing, which is the search for shape, seems more and political relations – everything is based on trust. difficult than usual in this situation since it is a totally While the state has certain powers and offers some ser- solitary job. It is good to talk to someone at least once vices or assistance, fewer and fewer people seem to feel a day, preferably face-to-face. that what the state provides is useful, functional and worth relying on. In many cases, self-help, self-govern- FREM seeks to convey the view of artificial intelligence. ing or community mechanisms work much better, they In various experiments, it already writes and paints, are better directed and more effective, we only lack the but even the most advanced form cannot balance out “tradition” of solving (especially local) problems in this the absence of emotion. FREM is emotional because way. At the same time, many people are perhaps rethink- even though it offers the view of a machine, there is ing how they live and what is important to them. They still a person behind it. sort what they essentially need and what only exhausts It cannot balance out the absence of emotion. or bothers them. Such experience is good in this man- I don't know if it is a positive or a negative. Our world ner. However, I’m not sure what happens when these looks the way it does, with everything positive and nega- micro-experiences merge into one set. tive, because we have emotions. It turns out that emo- tions also play a significant role in mental processes that The coronavirus very quickly showed us, as you say in were previously understood as analytical or rational. White on White, “the ephemerality of our toiling”. How We cannot imagine an emotionless gaze. It is impossible, did unexpected stop-time affect your life? even though such a view would interest me – what kind Stop-time has been going on for over a year. of “feeling” is the so-called “non-feeling”, such state of It was different during the first wave, it is different now. mind. We even lack a word for it. Maybe it constitutes I am quite used to varied types of deprivation, but it is a condition that is not just black-and-white. Those rather tough sometimes. Frequently, even “the ephem- shades are “feelings” in some other register of percep- erality of our toiling” happens to be the topic of the day. tion or feeling. ◀ Then it becomes difficult to force yourself to do anything. — text: Mariana Jaremková / film journalist— photo: Garfield film— interview 25 — No Secret

24 Without a Shadow

He was behind the camera of all Martin Šulík’s feature films, and his third collaboration with director Agnieszka Holland premiered last year. In March, DoP Martin Štrba won the Czech Lion award for Holland’s Charlatan (Šarlatán). The fifth of nineteen nominations. Štrba may receive the twentieth nomination next year if the cinemas open by then, so Šulík’s upcoming film The Man with Hare Ears(Muž so zajačími ušami) will be released.

Several premieres, including The Man with Hare Ears, were We talked about the awards for Charlatan, but among cancelled due to the pandemic. So far, we learned from the nominees for the Czech Film Critics’ Awards in the the summary that the film will be a bit of a surreal work. category of short films was also the filmS P A C E S Did it give you more space to play with image, form? (M E Z E R Y) by your daughter Nora Štrbová, which is Yes, I would discuss it in more detail, but interesting with regards to both content and form. It is people have not yet had the opportunity to see the film, a very personal, intimate film not only for her but also so I would rather not deprive them of surprise. What I can for you. What do you think about it? reveal is also clear from the trailer. The film consists of In addition to being nominated by Czech several layers, which reflect multiple levels of the main critics, S P A C E S won a number of awards around the character’s psyche. Therefore, it was possible to play world, which, unfortunately, Nora could not personally out the formal composition of the film image in a more receive because festivals moved into the online space varied manner. I approached it with zest and joyfully due to the pandemic. I am sorry she could not have ex- mixed my full imagination, down to the last drop, into perienced the overwhelming acclaim personally. On the the optimal cocktail of imagination of Martin, archi- other hand, I am pleased that she has not slipped into tect Fero Lipták and costume designer Katarína Hollá. tearful sentiment, which is always a threat with such sensitive topics, and that she has managed to process it A month before the cinemas closed, Charlatan managed extremely sensitively, with a huge overlap and recogni- to have its Slovak premiere. The film is receiving awards, tion. Of course, she had the strongest emotional support and for some time, an Oscar nomination seemed to be from us as parents, and that was the only thing, every- within reach. It happened to be your third collabora- thing else is strictly the result of her authorial approach. tion with Agnieszka Holland. How did your creative communication develop? I asked DoP Dodo Šimončič if the work on Lady Winter During the filming ofJanosik: The True Story (Perinbaba), which offers a limited colour palette, was (Jánošík: Pravdivá história), Agnieszka was a world- interesting for him, and he grew exhilarated: “But the famous director in my eyes, and I felt like a greenhorn next light!” Light is, of course, the alpha and omega. And what to her at the time, having too much respect. Obviously, about the shadow? she deserved it, but I mention it because you try to be There is no secret without a shadow. For me, overly perfect in such a position, which prevents you the shadow is one of the most important means of ex- from being a bit authentic. During the making of Burning pression. The shadow awakens the viewer’s imagination, Bush (Hořící keř), I think that respect got on the right awakens in him the “co-author” of the story. Paradox- track, and I sensed it adequately from Agnieszka’s side ically, I grew up listening to radio dramas myself. Through- as well. With Charlatan, the nascent friendship fully de- out my childhood, I sat with my ears glued to the radio veloped, what moved us both from the world of profes- because my father refused to buy a TV for years. It was sional relations to the world of mutual trust. It did not thanks to him that films began to be created in my remove all the surface friction, but the difference of head, when pressed against the radio speaker. It can be opinion was addressed openly, clearly and immediately, said that, at that time, my imagination developed fun- without plotting and fighting dirty. damentally. ◀ — text: Mária Ferenčuhová — — text: Jaroslava Jelchová — photo: HITCHHIKER Cinema — photo: ARYTMIA — new filmsnew filmsnew 27 — 26 Lines, Wrinkles Happiness Is and City Limits in the Small Things The Lines (Čiary) is a modern urban symphony about Bratislava, the little big Slovak metropolis, an (un)planned Director Juraj Lehotský attracted attention with Blind Loves (Slepé lásky), a documentary which was awarded city that is constantly being redrawn, constantly being born, full of thick lines and fine cracks as well as at the Cannes Film Festival. His feature filmsMiracle (Zázrak) and Nina were also successful on festival circuits. crammed with people and their loneliness. The Lines is documentary filmmaker Barbora Sliepková’s feature Third in line, Applause (Potlesk) builds on the aesthetics of his previous films, presents authentic visuals debut, which she began working on during her studies at the Film and Television Faculty of the Academy and emphasises real-world observation. According to Lehotský, however, a shift occurs, so in addition of Performing Arts in Bratislava (FTF VŠMU). to human values, the value of art as such is also discussed. The film was produced by HITCHHIKER Cinema, we were filming together. I am very grateful to them for their which has additionally produced two other feature docu- work. Previously, I usually worked alone or with one sound “The desire to reach the pinnacle and become great is emy in Berlin, while Slovak actress Judit Bárdos was cast mentary debuts by young graduates from the FTF VŠMU: engineer or cameraman. I had to get used to being more of one of the story topics. The film plays with the idea of human as his friend Lenka. Dominik Jursa’s The Golden Land (Zlatá zem) and Jakub a director, to lead them and also shape the reality in front greatness and smallness as well as seeks answers to questions: “A thirty-year-old man, his future in his own hands. Julény’s The Commune (Komúna), both also in the last year. of the camera.” In what lies the greatness of a person? Does it constitute An entity on the brink of real life, idealistic, brimming with The cooperation of HITCHHIKER Cinema with Ingrid Shaping the film was a long and complex process. grandiose applause, likes on social networks, recognition, physical energy, motivation, talent and believing in one’s own Mayerová, a dramaturge who is the head of the Docu- “The initial idea was great but difficult to turn into a film. It ac- respect and glory… Or is it something else?” director Juraj abilities, however, lacking an empirical basis, strong social re- mentary Film Department at the faculty as well, helped counted for endless hours of discussions, doubt and setbacks. Lehotský elaborates for Film.sk. He collaborated on the lationships and a purpose,” film producer Michaela Jelenek the graduates to enter the professional environment. “All Nevertheless, I cannot imagine it being any different because, screenplay with Timotej Križka, who is also the DoP on explains one of the layers of the story and adds that its three filmmakers were introduced to Hitchhiker by Ingrid, The after all, it is a film d'auteur, providing a personal account. Applause. “We live in a time when we are all competing. strength lies in the universality of the subject and “a sen- Commune was even based on her idea. She is largely credited It was filmed from the very beginning, and we continuously So here arises the question of what is still considered art sitive portrayal of the emotional world of characters who have with the thematic and author’s portfolio of our company today. examined the material,” says producer Barbara Janišová and what is only an instrument designated to achieve recog- something in common with each of us.” I have great respect for the talent, courage and determination Feglová regarding the author’s and production approach nition and fame. Even applause has lost its meaning and no By the same token, the music in the film speaks of these young directors; it’s safe to say that thanks to their and adds: “For us, each public presentation was a mobilisation longer shows respect for some thing that enriches us. I believe the language which is also universal, not only in depict- debuts, we have all grown. In a sense, every new film con- and a test of whether we are understandable and that our ideas everyone should find the meaning of their life, and the word ing the main character’s world. It was composed by Aleš stitutes a debut for me personally,” says Barbara Janišová resonate with potential audiences. Even during the development ‘success’ should be cast aside. The joy of improving our sur- Březina. “The story is about suffering as well as fulfilment and Feglová, producer of HITCHHIKER Cinema. phase, we presented the project in Bratislava at Febiofest Works roundings should come to the fore,” Lehotský explains the understanding the mind of an artist. When writing the screen- The story, from which The Lines evolved, was writ- in Progress where The Lines already received positive feedback. initial motivations. play, we relied on the composer’s experience in order to offer ten by Barbora Sliepková as an academic work, although it Last year, we won Docs in Progress at the Eastern Promises The protagonist is a young talented cellist Matúš, the most authentic and truthful setting possible. Aleš Březina was not executed at that time. “It contained fictional charac- forum at the festival in Karlovy Vary, and we also participated frustrated by unfulfilled ambitions. His promising career was part of the process of writing the screenplay – he composed ters, archetypes I had not met yet,” she says of the genesis of in the Slovak module of the dok.incubator workshop, which is interrupted by the disease of his adoptive mother. After Matúš’ music piece, and its development is highlighted through- her film. In the fourth year, however, she made a short helped us in the final phase of editing.” her death, he remains to live with his stepbrother Dávid, out the story,” explains the director. filmLoggia which already served as a preparatory work The author’s view, artistic research of the urban who, despite a congenital disability, rejoices and lives life Among those who further collaborated on the film for a longer shooting with one of the protagonists of The space and human stories finally formed an impressive to the fullest. As a matter of fact, it is talented Matúš who are Jan Gogola Sr. (dramaturge), Juraj Fábry (architect), Lines. “It was perhaps thanks to the success of the bachelor’s essay about the city. “With The Lines, it was clear at every appears to be the person with a disability next to him, Alexandra Grusková (costume designer), Pavol Jelenek short film About My Sister (O sestre) that I had the courage to stage that we would see Bratislava from a very personal point unable to lead a full life. Even when he gradually begins to (production manager) and Rado Dúbravský (editor). “Again, plunge into developing a feature. Nevertheless, with the support of view, so we looked for a balance between what the individual achieve his ambitions and success, it seems to be in vain. we have grown personally, it was a new experience, gained in of Barbara Janišová Feglová and Ingrid Mayerová, I learned characters are reporting and how specific their stories should Dávid’s life, in its simplicity, seems much richer. The di- more difficult conditions. Regarding the given period of the pan- a great deal while working on the film and grown a lot profession- be. As a result, we see a subtle tangle of micro-stories against rector continued to engage both professional and non- demic, shooting was quite challenging, and it is a miracle that we ally.” And what was it like to end up with an ambitious the background of a changing city. The visual identity and -professional actors. In the role of Matúš, he cast Polish managed to make the film. We were lucky, and it is the merit feature-length project in a professional environment? language are very distinct, in terms of genre, The Lines seems to actor Bartosz Bielenie, the European rising star who played and contribution of all the people who collaborated on it,” says “When preparing for The Lines, there was more thorough time resemble an urban essay. The film is about entering and exiting the lead in Corpus Cristi (dir. Jan Komasa). For Applause, the director. “From my point of view, the film should enable management as well as the necessity to bear the crew in mind from the personal and public roles and how our experience is he learned to speak Slovak and German and to play the the viewers, people in general, to discover a new facet to their much more – filming was no longer a school game, exploration, reflected in the creation of real or imaginary barriers, limits, cello as well. Czech non-actor Vojtěch Zdražil was cast personality, to point them in the right direction or make them it was their daily bread,” Sliepková explains. “I had to learn to lines,” concludes the producer of the film that is soon to as his brother Dávid, German actor Sabin Tambrea plays grow so they could wrap their head around some things and convince both myself and the crew of the importance of what embark on its festival journey. ◀ the role of Albert, Matúš’s schoolmate from the arts acad- possibly be happier,” Lehotský concludes. ◀

The Lines ( SK, 2021, dir. Barbora Sliepková ) Applause ( SK/PL/CZ, 2021, dir. Juraj Lehotský ) — text: Jaroslava Jelchová — — text: Jaroslava Jelchová — photo: MPhilms — photo: BFILM — new filmsnew filmsnew 29 — 28 The Power to Replace Reality With the Pretense of Truth Only Sea of Sand Director Mátyás Prikler debuted with his feature narrative film Fine, Thanks (Ďakujem, dobre) in 2013, and one of the film’s main stories was already presented within the Cinéfondation Selection at the Cannes Film Festival in 2010. Prikler’s second feature Power (Moc) explores the functioning of politics and deals with its influential figures and Tears Remain as well as the mechanisms of power. The filmmakers are playing with the genre of political thriller, however, nature Director, visual artist and animator Joanna Kożuch made a short animated documentary Once There Was a Sea... was at play too – not quite complying with their wishes, so the shooting had to be put off twice. (Bolo raz jedno more…). It offers the author’s view of one of the world’s greatest ecological catastrophes – the drying up of the Aral Sea. The film was created in a Polish and Slovak co-production. “The topic of power and helplessness along with their and Ingrid Timková, while co-producers of the film are forms in contemporary society has fascinated me and director the Hungarian company Proton Cinema, the Czech com- Joanna Kożuch made her debut in 2014 with Fongo- their stories will help us make better decisions in the future,” Mátyás Prikler for a long time. We have been searching for pany Negativ and Radio and Television Slovakia. polis, the film won the category of Best Animated Film she clarifies. a story that would be the starting point for a film adaptation. “Marek Leščák is the author of the original screenplay, at the National Film Awards Slnko v sieti. As her other “All the characters that appear in the film were cre- In this manner, it introduces a prominent politician who acci- and he has been collaborating with Mátyás Prikler for a long works, it is a proof that the author can combine different ated based on the authentic people I met. However, I changed dentally kills a man during a hunting trip and discusses dilem- time. Hungarian DoP Gergely Pálos, who has been working animation techniques, but she also bears the message in their names and appearance (I drew them new, different faces). mas of power, helplessness of the powerful and power of the with well-known Swedish director Roy Anderson on several mind. Her new filmOnce There Was a Sea... is a collage of For the purposes of the screenplay, I also changed some events helpless,” says producer Zora Jaurová for Film.sk. Together occasions, contributed significantly to the final visual outcome,” cartoon animation and actual photographed and filmed from the lives of my protagonists and the circumstances of our with Mátyás Prikler, she produced the film in the com- explains producer Zora Jaurová. “Michal Lošonský and Anna material, being both visual and sound. meetings, I combined the situations that happened during my pany MPhilms. “Our film is consciously playing with the genre Nyitrai designed an artistic component of the film which was “The idea for the film Once There Was a Sea... occurred first and second visit to Muynak several times. In this manner, of political thriller, and its protagonist is minister Berger, who shot in a muted black-and-white colour range with a hint of to me during my train trips to the Central Asian region, as I want to protect the privacy of the people I have spoken to. is currently running for a major international post. However, as the timeless void of the present day,” adds Jaurová. I first stopped in the wonderful, surreal city of Muynak – Therefore, I decided that all the characters in the film will be is usual in this genre, the real protagonist is the inconspicuous The filmmakers describePower as a winter film a port without the sea,” says director Joanna Kożuch in the drawn,” director elaborates in the explication and adds agent Steiner. Through the interplay of various circumstances, that can be shot two to three months a year because it author’s explication for the Slovak Audiovisual Fund. that “the animation will also help to depict a world that no he finds himself in the role of a director and has the opportu- takes place in a snowy country. This, for various reasons, “I was standing on a high cliff and watching the dead, desert longer really exists, only in the dreams, memories and desires nity to influence several stories,” explains the producer. complicated the process, and the whole shooting had to terrain and the wrecks of huge ships in the sand, imagining of the people of Muynak.” Agent Steiner’s role is to cover up the whole hunt- be set back for a year twice. “We have been working on this a busy port that was situated at the same spot just a few Screenwriter Katarína Moláková and dramaturges ing case so that even hesitant participants would be con- film for a really long time. Although we have done several other years ago,” Kożuch adds, and she would like to evoke the Phil Parker and Barbora Budinská also collaborated on vinced that it is for the best. The final version of the truth, film projects alongside, it was probably the most complex ex- feeling of responsibility that we have for the world we are the film, at a later stage, editor Marek Šulík, master what the world will accept, depends on him. He is cre- perience with a large international film production for us, from living in and contribute to the social debate about the musician Dušan Kozák and composer Martin Hasák put ating an alternative story that may seem eventually more the initial idea through a lot of creative work and the devel- harmfulness of man’s artificial interventions in nature their shoulder to the wheel. The Slovak producer of the realistic than reality itself. Thus, in addition to the mecha- opment of rather demanding production strategy (the film is and the importance of wise ecological measures as well. film is Peter Badač from the company BFILM, and he al- nisms of power, the film also reveals the true identities of funded by nine different sources) all the way to filming during The Aral Sea, being more of a lake, was once the ready collaborated with the director on her film39 Weeks, politicians who hide behind public masks and deals with the pandemic,” says the producer. “The film is grounded and fourth largest in the world. After cotton plantations with 6 Days. Other co-producers of Once There Was a Sea... are the topic of truth. “Steiner is the ‘director’ of the whole op- devised without any artistic compromises. Despite the produc- a system of irrigation canals were built in close proximi- the Slovak company plackartnyj, Radio and Television eration, and his work bears resemblance to the filmmaking tion complications, I am very happy that we did not opt for ty, the surrounding rivers, which flow into it, gradually Slovakia, the Polish company Anima-Pol and the Polish process. Arriving at the village to recce the location, he famil- the easy way out, even though it meant difficult production began to lose strength. The lake began to dry up. And Public Television. The filmmakers consulted and pre- iarises himself with the surroundings and, so to speak, starts decisions several times,” describes Jaurová. “Today, as we it is still drying out. Only the graveyard of ships at its sented the project on forums, such as Pitching du Réel casting – he finds a suitable candidate who takes all the blame,” finish the film, I am fully aware that the result is not pro- bottom and the memories of the elderly inhabitants, in Nyon, Cartoon 360 in Lille or Euro Connection in Prikler describes in the film’s explication for the Audio- portional only to the time and energy we put into it. Above whose lives were marked by this tragedy, refer to the Clermont-Ferrand. "Once there was a sea... was awarded at visual Fund. He cast Hungarian director and actor all, it reflects the fact that we made the film with a team of once busy port. The film brings a mosaic of stories of real the presentation Animated in Poland on Krakow FF 2021." Szabolcs Hajdu in the role of Steiner. The cast of the film people with whom we are in tune, both creatively and also people from the Uzbek city, a former port, with whom An interactive educational project is also being reflects the Slovak-Hungarian-Czech co-production. as friends,” she concludes. ◀ the director spent a lot of time – conducting interviews, created to support the film and its topic, and its out- Following characters are portrayed by Mihály Kormos, photographing, filming, making sketches, getting to know comes will be added to oncetherewasasea.com. ◀ Jan Kačer, Miroslav Krobot, Attila Mokos, Éva Bándor them while writing a diary as well. “I want to believe that

Power ( SK/HU/CZ, 2021, dir. Mátyás Prikler ) Once There Was a Sea... ( SK/PL, 2021, dir. Joanna Kożuch ) — text: Jaroslava Jelchová — — text: Jaroslava Jelchová — photo: BFILM — photo: TOXPRO — new filmsnew filmsnew 31 — 30 The Old Man Story of Slovak Countryside and the Harbour Where Witches Still Exist The hero of the feature debutThe Sailor by documentary filmmaker Lucia Kašová is British sailor Paul Johnson. Tereza Nvotová’s second feature film The Nightsiren (Svetlonoc) is set in a small village surrounded by mountains. His ship is stranded on an island where old sailors meet. Unlikely to set out on another journey, The dramatic story draws on Slovak realities, myths and legends, but it also discusses generally comprehensible he dreads such thought more than the end of life drawing closer. topics: fear of the unknown, prejudice and various forms of discrimination. Formal elements of magic realism “I am a sailor myself. The community and its lifestyle “In the project, I was fascinated by the topic of free- and the horror genre are employed in the film as well. attract me by their sheer nature. A sailor is a symbol of free- dom, as well as its universality and actuality, and the fact dom, the sea is the personification of nature and its cycle from that it can appeal to viewers of all generations. As a young “The Nightsiren constitutes a film about the fear of soul, but as they try to uncover the long-buried truth, which no one escapes. The small Caribbean island, where every- person, I often wonder if I should devote more of my time to otherness – whether one’s own or somebody else’s, which is the dark legends seem to come to life, leading the local thing stays the same, is like a film background for the image of duties and career or rather to live life to the fullest and not source of major problems in the present-day world. In our ‘tra- villagers to accuse them of witchcraft. a man who spent his whole life at sea battling the elements, think too much about the future. For me, the film constitutes ditional’ society, difference is enough of a criteria to ostracize In the introductory phase, screenwriter Barbora and he is now coming to terms with the end,” director Lucia part of searching for an answer to a question of what the price people, whether it is based on ethnicity, beliefs or unconven- Námerová was inspired by the anthropological study Kašová tells Film.sk, having an experience of sailing across of freedom is,” film producer Nazarij Kľujev, from the pro- tional lifestyles... Fear can always be found at the root, leading that examines the witchcraft phenomenon in Slovak the Atlantic Ocean and life on board herself. In the film, duction company Toxpro, tells Film.sk. The director invited people to find solace in a common enemy," director Tereza villages. She was surprised that it was still current. In the however, she does not set out to sea, but to the soul of him to collaborate when she found out that the project Nvotová says for Film.sk. According to her, The Nightsiren film, women described as witches are in reality far from a sailor, who will probably never leave his port again. had outgrown the originally planned student film. is also about searching for inner freedom and acceptance being the broom riding, children eating hags of the story- Thus, it brings up topics such as old age, loneliness and Following the story, the crew travelled to the of oneself, despite being rejected by society. books, but are open-minded women who embrace nature dying, which are contrasted with freedom and unre- southeastern Caribbean, to the island of Carriacou, where “I was motivated by the experience of living in a fe- and love men, sex, and themselves. Regarding the screen- stricted life at sea. Johnson’s ship docked. “It was a huge challenge for me to male body and constantly encountering various social norms play, the creators attended the ScripTeast workshop, Adventurer and sailor Paul Johnson lived his shoot in absolutely unknown conditions, and the timing of which indirectly imposed a role on me, one in which I naturally where they consulted with experts, such as screenwriter whole life at sea, and he was born on a ship. When he the project was challenging as well. It required a very dynamic did not want to be. Only after I confronted these stereotypes, Wiebke von Carolsfeld or producer Meinolf Zurhorst. The was drawn to the mainland for various reasons, he spent pace of preparation and production itself. Due to the advanced I was able to realise what I really wanted or not. In conse- project was also successfully presented at the Crossroads time building ships. Johnson did not feel the need to set- age of the protagonist, time was not on our side,” describes quence, I was drawn to the topics of motherhood, sexuality Co-Production Forum in Thessaloniki, at the Frontières tle down with any woman who came into his life, not Kľujev, adding that the shooting itself and the days spent and freedom also within the film story,” clarifies Nvotová. Finance & Packaging Forum in Karlskrona, Sweden, even after having children. Freedom was his greatest with Johnson delighted him the most during working Her new film deals with a certain need to return to na- and at the MIA|Film Co-Production Market in Rome, value in life, and now that he is stuck on a ship which on the project. “It is a pleasure for me to think back to the ture as well. “It is essential to understand that I am not only where it won the Eurimages Award for best project in is in the same condition as him – unfit to sail, he feels intensive phase of project development. In almost three years, an independent unit but also part of a large whole and without development. The film is produced by Peter Badač from that he is losing his freedom. Consequently, the man we went with it to Beldocs in Belgrade, DocsBarcelona, Meeting being in harmony with it as such, I cannot be in harmony with the company BFILM and coproduced by moloko film finds solace in memories and alcohol. Point Vilnius, the Cannes Film Festival, IDFA in Amsterdam, myself. That is the reason why the story is set in the Slovak (Czech Republic) and Silvera Productions (France). “For me, Johnson is an image of the old world of sailors and the participation in the dok.incubator editing workshop mountains,” says the director of the film, who works with “Most of the film takes place in mountain exteriors from the 60s. He carries the principles of ‘ free love generation,’ was very beneficial as well,” producer lists workshops and elements of magic realism and draws on Slovak folklore, and half of the story at night. To some extent, such difficult and as his end is approaching, this specific generation is leaving festivals. pagan customs, superstitions and myths. conditions suited me, I am convinced that a certain degree with him,” explains the director of several short films, who “Filming was very demanding both logistically and “The main character is a thirty-year-old Charlotte, of discomfort and overcoming oneself is important for making also took part in several documentary series for televi- humanly. We were on the other side of the world, so it was not a nurse, who returns to the place from which she escaped as a good film. Certainly, I’ve learned a lot about special effects, sion. Since 2017, she has been working more intensively an option to shoot anything afterwards. At certain moments, a child under mysterious circumstances. She is confronted not or non-conventional visual approaches as we shot almost the on The Sailor. “It was important to ask the right question, we all reached our limits,” says Lucia Kašová retrospectively. only with her childhood trauma but also with the villagers, in entire film using a hand-held camera,” director concludes. which perhaps more people are dealing with: Where is the line DoPs Martin Jurči and Maxim Kľujev, sound engineers whom she immediately arouses suspicion,” Nvotová explains. On the film, she collaborated with American DoP Federico of freedom or ego?” Kašová explains. According to her, the Tomáš Bauer and Igor Jedinák, editor Roman Kelemen, In the story, the village community sort of constitutes Cesca, and Slovak actresses Natália Germáni and Eva film is also about the choices we make every day when composer Martin Turčan and Czech dramaturge Jan a collective antagonist. Charlotte befriends Mira, an ec- Mores play the lead roles. ◀ we ask ourselves if it makes sense to follow our dreams, Gogola Jr. were involved in making the film. ◀ centric herbalist, that tries to mend Charlotte’s broken even if it means being selfish, hurt others or remain alone.

The Nightsiren ( SK/CZ/FR, 2021, dir. Tereza Nvotová ) The Sailor ( SK, 2021, dir. Lucia Kašová ) — text: Matúš Kvasnička — photo: archive of the SFI/Václav Polák, Miro Nôta — In 2021, Martin Hollý would be 90 years old. Was it one restored a couple of years ago, thus they do not meet of the reasons why you decided to have Night Riders the condition of being a recent restoration. It is also more digitally restored and submitted to Lumière Lyon? difficult to pick a “new” film for restoration, a film which interview I did not propose Night Riders primarily because still has potential to cross boundaries, to be selected and

33 of the anniversary. The most crucial factor when pick- attract audiences abroad. It always has to be a “distinct”

— ing a film is the film itself. Martin Hollý was a great film. Western audiences perceive classic Slovak cinema storyteller, and via small stories of common people he as some kind of eastern exotica, which is, for the time could tell universal stories. If it were up to me, I would being, (still) fresh: It can attract attention and entertain.

32 submit all his films to Lyon.Night Riders was my first However, in a long run, a promise of eastern exotica is pick and, at the same time, it was a kind of litmus test not enough. Ideally, we would like to offer various kinds of how the festival selection committee and then, if se- of films, present various genres in order to keep inter- lected, the festival audience will react to a film which national audiences interested. The films have to be of bears traces of western, was made in socialist Czecho- certain artistic value and deal with universal topics slovakia in the 1980s and does not star Gojko Mitić – which cross cultural boundaries. They should not be so not your typical eastern. The film was selected and soaked in the political ideology of the times when they screened within a programme section named Treasures were made. Peter Solan’s The Barnabáš Kos Case is a per- and Curiosities. That is the only section where an institu- fect example. When I saw the film with the audience tion, such as the Slovak Film Institute, can submit its in Lyon, their reactions were very positive. Although films. In 2019, the festival introduced the Lumière Classics the audience did not laugh at scenes which would make label with an intention to support a selection of restored Slovak audience laugh, their reactions were spontane- films. The Lumière Classics label is composed ofFrench ous. Festival audience in Lyon is very demanding, in the and International films, Treasures and Curiosities and a very positive sense of the word, spoiled by world-famous film narrow selection of films in other programme sections. classics usually presented there. However, it can ap- It is a good feeling to know that Martin Hollý’s Night preciate small films which were virtually non-existent Riders bears the same label as masterpieces of world for them before they had a chance to see them at the cinema such as The Brood by David Cronenberg. festival. And then, their reactions are sincere – direct satisfaction for excellent work carried out by colleagues What are the criteria when selecting directors and their in the Digital Audiovision Department led by Peter films for Lumière Lyon? Csordás. We do our best to select directors and films that are not known abroad, yet we are convinced that The whole process (ideally) ends with a world premiere they deserve attention. In the past, classic Slovak cinema in Lyon, but where does it start? was known internationally only for the films by two great The process of selection and preparation of a film Slovak filmmakers: Dušan Hanák and Juraj Jakubisko. for its digital restoration here in the Slovak Film Institute Directors like Paľo Bielik, Štefan Uher, Peter Solan, starts more than a year before the deadline for film sub- Elo Havetta, Stanislav Barabáš or Viktor Kubal were mission, which is usually in the beginning of June. One still virtually unknown. However, their films do have of the conditions for submitting the film is the deadline A Promise of Eastern potential to be rediscovered, to attract international for the DCP delivery of a submitted film, which is usu- audiences. Some of them have already proven that. Viktor ally in the middle of September. That is the basic time- Kubal’s digitally restored The Bloody Lady (Krvavá pani, line we have to stick to. Digital restoration itself is Exotica Is Not Enough 1980) travelled from Lyon to the Sitges Film Festival, always preceded by a meeting with Marián Hausner, one of the most prestigious fantasy film festivals in director of the National Film Archive of the Slovak Film Martin Hollý’s Night Riders (Noční jazdci, 1981) has become already the fourth Slovak classic film that world premiered the world. Peter Solan’s The Barnabáš Kos Case (Prípad Institute. There we discuss proposed film which we could Barnabáš Kos, 1964) had an amazing world tour – Lumière possibly digitally restore “for Lyon.” Another condition at one of the most prestigious classic film festivals – Lumière Lyon. Every year since 2017, the festival has selected one Lyon, Tallinn Black Nights Film Festival, CineFan for submitting film is, as I have mentioned before, a re- of the recently digitally restored Slovak films. The selection by such a film festival is a recognition of excellent work Hong Kong, Karlovy Vary International Film Festival, cent restoration. That is why we always pick one “crucial” done by Digital Audiovision Department of Slovak Film Institute, which is represented at international fora National Gallery of Art in Washington DC. When the film to digitally restore, with the deadline for submis- by Rastislav Steranka, director of the National Cinematographic Centre of the Slovak Film Institute. world stopped due to the pandemic in the beginning sion in mind. However, it does not automatically mean of 2020, the travels of comrade Kos stopped as well – that the film will be selected. It is up to the selection already arranged and scheduled screenings at the Art committee of the festival. The head of the selection Museum & Pacific Film Archive in Berkeley or Budapest committee and the festival itself is Thierry Frémaux, Classics Film Marathon were thus postponed indefi- who founded the festival in 2012. If our film is selected, nitely. In fact, as we speak, the DCP of the film is still it is always a great pleasure and even greater honour. being stored in the Pacific Film Archive in Berkeley. We began submitting our digitally restored films to Lyon in 2017, and it seems that, together with Marián Are there any limitations when selecting films for Lyon? Hausner, we have chosen the films well since all of Almost all the films which I would submit to them have so far been world premiered in Lyon. Lyon instantly, Slovak Film Institute already digitally → — text: Barbora Námerová / screenwriter — Concerning the festival atmosphere, is there any dif- photo: archive of the SFI/Vladimír Vavrek — ference between Lumière Lyon and “regular” film festivals? interview TheThe IllusionIllusion Classic film festivals have a different atmo-

35 sphere compared to festivals of contemporary cinema.

— They are not so business-oriented, not so hectic. Every- thing takes place in a relaxed atmosphere. The heart of ofof CoincidenceCoincidence the festival in Lyon is the Institut Lumière, situated in

34 the Lumière Villa. However, the festival is spread around the city – in single-screen cinemas, miniplexes and multi- plexes. Based on my own experience, the festival cinemas HasHas toto BeBe WellWell are always full. The same goes for the Comédie Odéon theatre in the city centre, which hosts masterclasses open for the festival audience. If I mention that Frances Thought Out McDormand, Jane Fonda, the Dardenne brothers, Viggo Thought Out Mortensen, Francis Ford Coppola, Bong Joon-ho, Alfonso Cuarón, Wong Kar-wai, William Friedkin or Guillermo del Czech screenwriter Meir Lubor Dohnal worked together with Slovak director Elo Havetta since they were Toro were the festival guests in the past, you can picture students. Their collaboration culminated with Havetta’s debut Celebration in the Botanical Garden (Slávnosť the scope of the festival yourself, and how attractive it v botanickej záhrade, 1969). The SFI released the film on a double DVD together with Havetta’s second film is not only for film professionals. Wild Lilies (Ľalie poľné, 1972). In addition, they were released as the Elo Havetta Collection on Blu-ray, including special bonus materials.

Do you see any connection between the films you made incorporate a dance rhythm, which is not a result of at the Film and TV School of the Academy of Performing editing, though, since it was already in the screenplay. „Classic film festivals have Arts in Prague and Celebration in the Botanical Garden? With their poetics and relation to reality, they Throughout the 1980s, when you emigrated, you met a different atmosphere do not really differ very much from Celebration in the several significant filmmakers. What was this period compared to festivals of Botanical Garden. We wanted to tell the story in a way of filmmaking like for you? that it is not restricted by chronology, so that it does not I have dual citizenship and even two different contemporary cinema.” slavishly stick to causality. The film can be put together names. My name is Meir Lubor Dohnal on my German from fragments that tell the story but are not immi- ID card, and only Lubor Dohnal on the Czech one, while nently bound as regards of cause and effect. We applied in the opening and closing credits of German films I am a method that Havetta and I called “from the suitcase.” named only as Meir Dohnal. This does lead to a certain You sit in the editing room, you don’t know exactly confusion in my filmography. I was lucky to obtain my which shot is going to follow, so you reach into the suit- first screenwriting contract almost as soon as I arrived In your opinion, which Slovak film had the best case, you pull something out and edit it into the film. in Germany. It was Do Not Be Afraid, Jacob! (Fürchte dich response in Lyon? At least that is the impression it’s intended to make. But nicht, Jakob!) by director Radu Gabrea. I had an amazing feeling after each and every it has to be well thought out, and there have to be internal screening, whether it was The Bloody Lady, The Barnabáš links so that the gradation possesses the right dynamics. A documentary about Marlene Dietrich was another Kos Case or Wild Lilies. It is essential that the festival important collaboration of yours. demands every screening to be introduced by the film The feeling of spontaneity which impresses viewers in Marlene. It was a strange sort of collaboration representative who “tunes its audience in” – briefly ex- Celebration in the Botanical Garden creates the illusion with Maximilian Schell. I wrote the screenplay, but plains the cultural, social and historical context of the that the entire film was improvised. As the screen- it could never have been realised in that form. By that presented film. I did not travel to Lyon withNight Riders writer, can you elaborate on that? time, Marlene was already in a wheelchair, and she in 2020, so I don’t know reactions of the audience to the That sense of improvisation or working with it did not want to spoil her image as a diva. But Schell film. But what is extraordinary when speaking about is justified. Havetta often worked with non-actors, and managed to record an amazing interview with her that Lumière Lyon is the fact that it does not differentiate you can never quite prescribe dialogues to them, but she refused to give to other very famous filmmakers. between big and small films. My first visit to Lyon was thanks to their minimalism, we used almost all of my He had a terrific charisma as an actor, and he was able in 2017 with The Bloody Lady. I was surprised when, right dialogues. Non-actor has certain limitations but also to captivate her with it, so on Marlene’s side, there was after I introduced the film, I was asked to do a short inter- certain talents, something emanating naturally from also some sort of peculiar provocative interest. It ended view. And then, when you see The Slovak Film Institute them. You need to have a sense of it on the set and to with me putting the film together again in the editing being presented with Anna Karina or William Friedkin give it a chance. As regards what happened on the set, room. It was actually a retroactive creation of the screen- in the same gallery on the festival website, it is a strange Havetta’s films certainly contain improvisation, but it play. We built the film from archive materials based on yet pleasant feeling that our work is being acknowledged never goes as far as to affect the way the film is com- this interview in order to make it as spectacular as the at such prestigious classic film fora, and that its results posed. If you want to work with the illusion of coinci- portrait of this enigmatic character. It was an extraor- are in a very, very good company. ◀ dence, it has to be really well thought out. Moreover, dinary job, but Maximilian Schell was extraordinary those films are, so to speak, choreographies. They almost himself. ◀ — text: Matúš Kvasnička — — text: Matúš Kvasnička — photo: archive of the SFI/Vladimír Vavrek — photo: archive of the SFI/Dušan Dukát — slovak classicsslovak classicsslovak 37 —

36 Elo Havetta – Destined for the Miracle of Cinema The World Discovers “Elo was one of our first real film poets, and we do not have too many of them. He was one of the first poets who were not allowed to evolve in the Slovak film environment,” writer Vincent Šikula said about Elo Havetta years ago. One of the most distinctive Slovak filmmakers also cast Šikula in his debut Celebration in the Botanical Garden a Hidden Gem – (Slávnosť v botanickej záhrade, 1969) and shot his second filmWild Lilies (Ľalie poľné, 1972) based on Šikula’s screenplay. Šulík’s Tenderness Both films were released on DVD by the Slovak human life. In Celebration of a Lonely Palm (Slávnosť Film Institute. In addition, they were released as the Elo osamelej palmy, 2005), a documentary about Havetta that “Month after month, you can always rely on the team at Second Run to unearth a little-seen gem from corners Havetta Collection on Blu-ray, including special bonus is included as a special bonus material in the collection, of the globe underrepresented on the home video market,” so begins a brief review of the current Blu-ray release materials. The collection offers director’s feature films Meir Lubor Dohnal says: “That is also a part of Havetta – of Martin Šulík’s Tenderness (Neha, 1991) on the website of the British Film Institute – BFI.org. in a version that is the result of a thorough process of a man who sees miracles in things but cannot admit it because After years, Šulík’s film reaches foreign audiences digitally restored. restoration and colour corrections. DoP Dodo Šimončič no one understands him. In fact, he is destined for the miracle was overseeing that they stay true to the original. In of Cinema, just to show them: You idiots, it is a miracle, “It’s a striking debut; formally and structurally a new age that is still intrinsically affected by the corruption 1989, in the magazine Film a doba, film historian Václav what a beauty!” rigorous, and elliptically designed to keep its central trio at of what has gone before,” writes Cunliffe. Macek likened the significance of Havetta’s work to the According to director Eduard Grečner, whose arm’s length, foregrounding their alienation and rendering The commentary at dvdbeaver.com praises, in work of Ľudovít Fulla and Mikuláš Galanda and what text about Havetta can be found in the booklet of the the film’s title cruelly ironic,” writes film critic Matthew addition to the film itself, the quality of the digital resto- they meant for Slovak fine art and its contact with Blu-ray collection, with some exaggeration, it can be Thrift, describing Šulík’s film as psychosexual drama ration under the supervision of the Slovak Film Institute, the outside world in the 1930s. According to Macek, argued that Celebration in the Botanical Garden “is a cra- with several features of the early works of Roman which was also approved by the director, and special Havetta and his peers in the late 1960s overcame the zy reflection of its time, an emotional protest, an explosion Polanski. An expert in Slovak and Czech cinema, bonus materials. Besides the film, the Blu-ray release regionality of Slovak film and brought it closer to of spontaneous merriment in a time constricted by prohibi- British film critic and historian Peter Hames also men- of Tenderness offers the aforementioned booklet, Šulík’s the trends of world cinema of that time. tions and derailed by orders.” Havetta’s work and destiny tions Polanski in an extensive text in a 20-page booklet short filmHooray (1989) and the new documentary On “Author’s progress and bold interpretation of reality were also significantly influenced in this manner. Elo of the British Blu-ray edition. According to him, how- Tenderness (2020) directed by Michal Michalovič. Produced broached the previously circumvented (taboo, undesirable) Havetta died at the age of 36 – of normalisation, as ever, the analysis of intimate male-female relationships by the Slovak Film Institute, it sheds light on the his- topics related to sexuality,” writes film historian Eva Filová dramaturge Albert Marenčin used to say. conducted by the screenwriting duo Martin Šulík and torical context. Sight & Sound magazine highlights the in the book Eros, sexus, gender v slovenskom filme (Eros, Apart from Celebration in the Botanical Garden, Ondrej Šulaj resembles more Ingmar Bergman’s films, importance of the context as well. “Without any con-text, Sexus, Gender in Slovak Film). Filová also argues against he could make only another feature film,Wild Lilies. His especially Scenes from a Marriage (1973), despite having it’s easy to interpret Martin Šulík’s feature debut merely as some of the previous views on Havetta’s debut. The author protagonists, war retirees, are looking for a home and certain commonalities with Polanski Knife in the Water a Pinteresque psychodrama existing in its own circumscribed sees the weakness in their mechanical and pragmatic their place in society. They equally long to settle down (1962) or Michael Haneke’s Funny Games (1997). Accord- universe.” The review elaborates that when released, the interpretation of irrational events and motifs in the and to roam freely like nomads. In Peter Mihálik’s ing to Hames, the parallel is emphasised by the perfor- film was greeted with bafflement because of the lack film. “Do we have to seek the ‘incontrovertible’ logic behind text in the daily Práca, at the time of the premiere, mances of György Cserhalmi and Maria Pakulnis, por- of any temporal anchor points. However, it was a reaction everything? What if the essence hides behind chance, what Havetta stated that there are many films about the hor- traying Viktor and Mária. Twenty-year-old Simon (Gejza to the literalism in Slovak films: to reveal everything about if it is embedded in the manifestations of the subconscious- rors of war. Therefore,Wild Lilies was intended to provide Benkő) becomes drawn into their relationship. After the protagonists, and as soon as possible. Sight & Sound ness?” Filová asks. Meir Lubor Dohnal, who wrote the a different perspective and show the psychological con- a conflict with his father, he leaves his parents’ house, concludes that the disc confirms the good reputation screenplay for Celebration in the Botanical Garden, spoke sequences of war, which, according to him, are worse becomes part of a peculiar ménage à trois and only grad- of the Slovak Film Institute regarding film restoration. to Film.sk about how the film was made. Allegedly, he than the physical ones. Supposedly, the film is based ually reveals the secrets of the older couple. “Already established for bringing key films from the and Havetta did not want chronology and causality to on the principle of multi-voice composition, it develops Mark Cunliffe in his review at thegeekshow.co.uk wealth of Czechoslovak cinema to a much wider range of viewers, limit the latitude of their film story. For them, what individual motifs so that in the end they merge into titled Tenderness: The Past is a Foreign Country in Martin Second Run throws a bit of a curve ball with Tenderness, was more important than the cause and effect were the a symphony. Havetta was convinced that “the screenplay Šulík’s (1991) Debut states that the film “deploys” a rela- originally entitled Neha,” claims mondo-digital.com. “The intense moments – the core of the individual sequences. realised in a finished film will have a wide audience reach. tively standard, universal film genre of a coming-of-age title might imply a touching family drama or romance, butthat’s “The author does not waste time explaining and clarifying Therefore, I strive for an audience-oriented film, in the best story as a metaphor for Slovakia waking up to see the definitely not what you get here.” The author of the text the connections or context, breaking his back so that every- sense of the word.” However, during his lifetime, he did light after a period of communist oppression. “Using the describes the film as an elusive and fascinating allegory, thing fits perfectly,” Dohnal told Film.sk. not manage to achieve what he was describing. Just backdrop of regime change and the anxiety of an uncertain as well as a notable feature debut of a director who makes Celebration in the Botanical Garden is a colourful like Celebration in the Botanical Garden, the filmWild future, the film analyses the basic values, sense of morality important Slovak films on a regular basis. ◀ mosaic of stories that display the need for a miracle in Lilies ended up being banned. ◀ and the complexity of human relationships at the dawn of 38 — 39 slovak classics photo: photo: — no longer had the vigour of youth to hope that one can turn turn can one that of hope youth to vigour the had longer no Kadár Forty-year-old first. come not did revenge for desire the where spirits, kindred his alongside a screenplay, write family, to almost entire his able lost and camp the was he collaborated.” Slovaks that ataboo was who went through it forget,” wanted to people place. takes film the which in period to the back to think wanted Jews nor the collaborators the neither that explains Gál Egon philosopher the interview, bonus read: it and approved, being was screenplay the when from returned Street Main recognised. were Kamińska Ida and Kroner Jozef of performances the where Cannes, in film the mitted sub Czechoslovakia afterwards Only West. to the way gate the was which London, in selection to the added cinema. the leaving after -Semitism ever made,” of review emotive an by convinced was Baker Fortunately, article. his and Tynan without unacknowledged completely go could slovakia, Czecho- for Oscar first the won later which film, The Kadár. on Ján monograph his in Macek Václav historian film but of Mr.Baker, certain of a editor-in-chief hands the in was of films The selection London. in place take to was film festival vak Klos. director dubbing Street Main Shop on The Blu-ray. and on DVD released of edition new for the Institute Film Slovak the by prepared interviews bonus of the text: text: Films and Filming and Films The Shop on Main Street Main Shop on The Národní archiv filmový Praha When the prominent British theatre critic Kenneth Tynan visited socialist Prague in the 1960s, he also showed showed also he 1960s, the in Prague socialist Tynan visited Kenneth critic theatre British prominent the When Matúš Kvasnička

In fact, before and after the filming, filming, the after and before fact, In The story is mentioned by Elmar Klos in one Jr. Elmar by is mentioned story The “In 1962, eighteen years after Kadár escaped from from escaped Kadár after years eighteen “In 1962, interest in new films. films. new in interest was not entirely welcomed at home. A note at home. Anote welcomed entirely not was The TragedyThe of Millions Who would think this could be afilm? be think would could this Who Ján Kadár and Elmar Klos was recommended to him. Later, in a review for for areview in Later, him. to recommended was Klos Elmar and Kadár Ján the film unique. However, it was Tynan’s extensive review for the British British the for review it was However, Tynan’sextensive unique. film the one to make you shed tears even even tears shed you one to make magazine. He selected various films, films, various selected He magazine.

— “In the spring of 1966, aCzechoslo- of 1966, “In spring the

competed for an Oscar,” an for competed “the most moving film about anti- about film moving most “the The Shop on Main Street on Shop The was not among them,” among not was “It was a coincidence that that acoincidence “It was Through Two Fates The Shop on Main Street on Shop The The Shop on Main Street Main on Shop The — says Gál. Gál. says that indirectly opened the door to the world for for world the to door the opened indirectly that The Shop on on Shop The elaborates In the the In was recalls recalls “The “The “It “It - -

(Obchod na korze, 1965) by the Slovak-Czech directing duo duo directing Slovak-Czech the by 1965) korze, na (Obchod I’ve seen from Europe or anywhere else.” anywhere or Europe from seen I’ve as it and Forman’s with along Paolo Pasolini, Pier by Antonioni, Michelangelo of Woolf? Virginia Afraid films the he included distribution, American in films 10 best of the alist compiling of 1966, end the at Then, born. were miracles film such where eyes own his with see and to go decided Crowther later, months A few Crowther. Bosley critic influential the by written in review favourable avery received and Award York New won the Critics York Film festival, Mainon Street Shop The Iknow.” its victims and of fascism reminder powerful most face. innocent an such with old lady wildered be- and of hearing hard white-haired, the to forget cult diffi- rather it find will audiences the that says Kadár being. human of asingle tragedy the in concentrated of fascism apicture outdo cannot of asituation tion reconstruc- perfect most the even to him, According ing. noth- tell that numbers through not stories, life specific through happened had what to understand searched He parents. friends’ his and father of his fate of the but Jews tortured million six the of all fate of the think not did he film, personal most his in that explains Kadár book. his in writes Macek die,” to why had parents his understand to wished In through. been had people through, what other been what had he experience, his prehend com- himto allow that would tool as a film the use to was to him more mattered much What down. upside world film the “one of the most arresting and devastating pictures pictures devastating and arresting most of the “one The Shop on Main Street on Shop The

Kadár’s text was published in January 1966, when when 1966, January in published was text Kadár’s In the text for text the In The New Herald New York Tribune The was already a success at the New New at the asuccess already was The Gospel According to St. Matthew St. to According Gospel The by Mike Nichols, Nichols, Mike by The Shop on Main Street Main Shop on The . In the review, he described he described review, the . In The New New Yorker The The Shop on Main Street Main on Shop The Observer The New TimesNew York The

, written earlier, , written ◀ Loves of aBlonde, Loves Blow-Up , he deemed deemed , he “She is the the is “She Václav Václav Who’s Who’s in 1966, 1966, in , he also also , he by by , .

slovak classics play for the film film play for the ago. years two France in premiere renewed its had which film, the life’s for search the taste” and colours communicatesfilm forsearch the The humanity,authentic. and honest be to inch film of the we wanted time, every same the At exists. still person agood that voice to us to important appreciated. were malicious, not is which mour, hu- and sensitivity his also but authenticity of poetry, sense Hanák’s Abroad, festivals. at many spectators by seen was girl, aRoma Bittová), (Iva Jolanka love with in falls postman, white akind-hearted Nvota), (Juraj Jakub which in but love, forbidden big first of the story poetic The 1970s. the in market foreign the to penetrate life,” authentic and of freedom an as oasis cultural milieu Roma perceived he of normalisation, period of Jolanka. character the shaped Hanák and friend, his by inspired was postman of the character The Hanák. with together screenplay the wrote He says. if it for search and, to we are lucky,us it.” find to help They past. the about truth tell the they If are good, they value. documentary their is significant are, more the they older made. were they which in time the about mentary with debut writing in fiction” the authenticity the and authenticity the in fiction of the presence is it Macek, Václav historian to film 1995). According 1972), sveta, starého (Obrazy – films documentary and fiction both with abreakthrough had Hanák scene. the entered Wave New Czechoslovak the when 1960s, the in Prague in Arts of Performing of Academy School TV and Film the from graduated He generation. his of filmmakers Slovak popular most one of the is photographer and maker of time,” test the stood have why Ithink asoul, is that films have the — text: (Ja milujem, ty miluješ, 1980) was banned by censors. Later, it received a Silver Bear Award for Best Diretor Diretor Best for Award Bear aSilver received it Later, censors. by banned was 1980) miluješ, ty milujem, (Ja comedy poetic Hanák’s Dušan Matúš Kvasnička

Hanák and Dušek wrote together also the screen- the also together wrote Dušek and Hanák script- his made who Dušek, Dušan For writer the Hanák says. The internationally acclaimed film- acclaimed internationally The says. Hanák Rosy Dreams Rosy “There is humour in both films, and the characters characters theis and films, humour both in “There to the New Wave to the New Wave that determines the quality of Hanák’s works. works. of Hanák’s quality the determines that and a special FIPRESCI Award at the Berlinale in 1989. The Slovak Film Institute (SFI) released released (SFI) Institute Film Slovak The 1989. in Berlinale the at Award FIPRESCI aspecial and I Love, You Love I Love, Rosy Dreams Rosy is the only Slovak film that managed managed that film Slovak only the is — Paper Heads Paper , the films are also a docu- also are films , the all Hanák’s feature films on DVD, and two have now been released on Blu-ray.on released been now have two and on DVD, films feature Hanák’s all . Its protagonist is Pišta, Pišta, is protagonist . Its Pictures of the Old World Old of the Pictures Rosy Dreams Rosy Hanák elaborates on elaborates Hanák Dušek explains. explains. Dušek (Papierové hlavy, (Papierové hlavy, “During the the “During Dušek Dušek (Ružové sny, 1976) was a hit, but the tragicomedy tragicomedy the but ahit, sny, was 1976) (Ružové “It seemed “It seemed Greetings Greetings “The “The “the “the

comments on on comments our in country,” also made were films -quality high- and authentic when 1960s, the and Wave New slovak authenticity. its welcomed hand, other on the critics, contemporary later, adecade almost 1980s, late the in distribution ugly visuals.” tentionally saw they film, the In communists. the outraged outcasts the of portrayal convincing The Forman’s Miloš in role of amother the and encounter a chance by retirement of threshold the on world of film the into catapulted was who anon-actress Ježková, Milada by played is mother His longing. is for Pišta whom friend, Vinco’s girl Janžurová, Iva actress Czech by and Vinco, friend Pišta’s Jelić, Milan actor Serbian by given also are performances convincing and Kłosowski Roman actor Polish by played is He he drinks. because down him turn women and down, him turn women because drinks who

“I wanted my films to be a greeting to the Czecho- the to greeting be a to wanted my“I films Loves of aBlonde Loves Rosy Dreams Rosy When the film was released for released was film the When (Lásky jedné plavovlásky, 1965). 1965). plavovlásky, jedné (Lásky and I Love, You Love. ILove, “ fabricated and in- and fabricated “ I Love, You Love I Love, Dušan Hanák

◀ - 40 — 41 100 years of slovak cinema by a lecturer and they are set to culminate in 2021 with the publication of an anthology in Slovak and English. and Slovak in anthology an of publication the with 2021 in culminate to set are they and alecturer by introduced be will screenings of series The view. of point original an from cinema Slovak examine will authors 2021) – (1921 filmu slovenského Abecedár is them of One film. Slovak of years 100 of heading the under 2021 for cycles programme several planned has Lumière, Cinema the of part a and Institute Film Slovak the of cinema archive the Filmotéka, Therefore, year. brothers’Siakeľ Paštéková prepared annotations for 25 entries and con- and for entries 25 annotations prepared Paštéková layered.” irony is or synecdoches metonymies, of metaphors, variety –the in rhetoric through changes culture lively the of Slovak places uncover to intention an as in general, approach, the characterise but Iwould helped, spark asudden Sometimes cultural contexts. wider related to ertoire, Cinematography of narrative syntagmatic great the “Unlike interpretation. to asingle limited not is that history the of co-author also Cinematography of Slovak History filmologists. foreign and of domestic view of point the original from films Slovak overlooked and well-known both in function their considers it and or forgotten, aside pushed been have that motifs visual or phenomena connections, to him, According Kaňuch. Xanthippe,”or Sphinxthe as such glance, ing at first surpris or hermetic seem that at entries we arrived cases, In some primary. was entries and into‘encoding’ letters them authors. project’s the of one assessment,” or structure Cinematography published layout of previously logical ideo the avoid to manner. bold and We tried open a more outlined we Therefore, presented. be will films and filmmakers periods, breakthrough of the introduction traditional amore anniversary, the for prised com cycles Lumière. In Cinema of programme the next the Letters

“The impulse came from the Filmotéka’s dramaturges dramaturges Filmotéka’s the from came impulse “The Film historian Jelena Paštéková, who wrote wrote who Paštéková, Jelena historian Film , we focused on new overviews from its rep- from overviews new on , we focused (Dejiny slovenskej kinematografie), its its kinematografie), slovenskej (Dejiny Jánošík Abecedár and Forgottenand Films says film theorist Martin Kaňuch, Kaňuch, Martin theorist film says (1921), the first milestone of Slovak cinema, will celebrate its 100 its celebrate will cinema, Slovak of milestone first (1921), the . According to her, it revives to her, revives it . According “The selection of themes and and themes of selection “The Abecedár Abecedár with Václav Macek, is is Václav Macek, with , History of Slovak of Slovak History reveals unnoticed unnoticed reveals Entries History of Slovak of Slovak History deliberately in in deliberately (Dictionary of Slovak Film). Contributing entries from A to Z, eighteen eighteen Z, Ato from entries Contributing Film). Slovak of (Dictionary Kaňuch and and Kaňuch adds adds - - - process that can be further cultivated and deepened. deepened. and cultivated further be can that process thinking open an allowing experiment, aplayful is it updated,” it be can because of mosaic “The the in of entries list the Paštéková, to Jelena According Kaňuch. ‘preunderstanding,’” hierarchical without films motifs lively in images, places, the hidden find to is aim The relevant. not is rejected the and accepted the between line recognised other. each to Apreviously next placed being works their and directors unknown and famous to leading implemented, it was where films remarkable to ties aspect Its selected phenomenon. or motif visual vitalityof the and on livelinessis focus The Bergala. Alain and Jordi Balló by Cinema of of Udine), by example for in context, this withoutnames’ (University cinema of ‘the history shifttowards of acurrent within frame the research projects by inspired of making the prompted that pulses Paštéková. Jelena says chance,”new a them give and examined sufficiently been not archive, have that the ones from treasures hidden rience expe- to opportunity an viewer the It offer to dares knowledge: of history, view asubjective to tion viewers. to most familiar not are that for works opted often they so, In doing concepts. specific present would they which through of films selection the ing includ- up to them, largely was entries assigned towards approach Subsequently, the authors. individual tacted Abecedár

Certain foreign projects were among the im the among were projects foreign Certain , a Spanish and French project of ‘encyclopaedia’ of ‘encyclopaedia’ project French and , aSpanish Abecedár’s , is not carved in stone once and for all. for all. once and stone in carved not is Themes Themes composition comes as an advantage she adds. Kaňuch concludes that that concludes Kaňuch she adds. — Abecedár text: text: th Abecedár anniversary this explains Martin photo: photo: Visual Motifs Motifs Visual Matúš Kvasnička can also enrich enrich also can Miro Nôta Nôta Miro . “We were were “We “In addi- “In

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“It is one of the last cinemas in the world that screens screens that in world the cinemas last of the “It one is Regarding the attendance of the cinema, profiled profiled cinema, of the attendance the Regarding Sátántangó of the Slovak Film Institute (SFI), situated in the Bratislava city centre, is the only multiple-screen multiple-screen only the is centre, city Bratislava the in situated (SFI), Institute Film Slovak the of Film Club in the Slovak Republic and one of the most important domestic art house cinemas. cinemas. house art domestic important most the of one and Republic Slovak the in Club Film Parasite Scumbag (dir. Béla Tarr, 1994). The cinema Tarr,cinema 1994). (dir. The Béla — According to Dubecký, even after after even to Dubecký, According says Zita Hosszúová, the manager manager the Hosszúová, Zita says says Peter Dubecký, the general general the Dubecký, Peter says (dir. Bong Joon-ho). Three more more Joon-ho). Three (dir. Bong (Sviňa, dir. Mariana Čengel Čengel Mariana dir. (Sviňa, “Kino Lumière, the cinema Lumière, cinema the “Kino “the cinemas actually actually cinemas “the Ten years years Ten were moved to the online platform platform online to the moved were events several and closed, still is it mid-February, In rates. space,” any other have not do that events and activities films, all those for diversity, for a room make place. take filmmakers of important spectives retro- and cinema of foreign showcases Week and Film Slovak the as well as MittelCinemaFest and Festival Film Queer Slovak the World, One Be2Can, Febiofest Bratislava, Festival Film International The showcases. and festivals 15 for more than designated are rooms the year, the During process. acomplete modernisation undergone recently have seats 36 and 44 79, 195, with rooms screening four Fund,” visual Audio the from support it financial of the mainly because maintainto able arewe moment, the at tickets, the live off purchasing tickets. by to support ones which choose will spectators and well, as project the joined have cinemas Other explains. virtually,” cinema the substituting for available time. real in project the with mid-April in demic pan- to the responded Lumière Kino 2019. in spectators 120,000 record of a new reached and time first for the Programming. for Best Award Cinemas Europa won the Lumière Kino 2014, In ences. audi foryoung activities out carry and films European to non-national screenings their of part a significant designate which cinemas, 1,200 more than It supports network. Cinemas Europa of the part is Lumière Kino education. film and works of classic presentation the cinema, European and Slovak on contemporary focused it 2011, in cinema the managing started SFI the When since 1991. rented been had premises The 1976. since place same the in operated which centre events Club, afilm . In 107 days, it offered 149 offered it days, 107 . In It will celebrate its 10 its celebrate will It

With the support from the Audiovisual Fund, Fund, Audiovisual the from support the With 100,000 exceeded of visitors 2017, number In the Film of the tradition the continues Lumière Kino she adds. “Hardly a perfect way, but it is the best solution way, solution best but it the is aperfect “Hardly “However, it is not a project that can can that aproject it not is “However, Kino doma th

online screenings, streamed streamed screenings, online birthday in birthday September. Kino doma. Hosszúová elabo- Hosszúová (Cinema at home) at (Cinema Zita Hosszúová Hosszúová Zita

“We try to to try “We ◀ - - — text: Jana Dudková / film theorist— photo: Punkchart films, Silverart, CinemArt SK/Łukasz Wojciechowski — 2020 in fiction film

43 The Limits —

42 of Inhibition

Slovak cinema has diversified and grown over the last ten years. However, the pandemic situation not only hampered the production of many films but also affected film distribution and cinema releases. After all, the subject of this review are only three Slovak feature fiction films, which had their distribution premiere in 2020: The number corresponds to the period of the greatest crisis of domestic cinema in the 1990s. As then, the films are vastly different, so it is difficult to speak about trends and tendencies.

Mariana Čengel Solčanská and Rudolf Biermann’s Scumbag (Sviňa) opened a month before the introduction of anti-pandemic measures. Even during that time, the film managed to attract a record-breaking number of 389,358 viewers, thus beating previously undefeated The Fountain for Suzanne 2 (Fontána pre Zuzanu 2, dir. Dušan Rapoš, 1993) with its 343,206 viewers. It became the second most visited Slovak film in the era of independence, behind Juraj Jakubisko’sBathory (2008) with 432,300 spectators coming to cinemas. Scumbag was released not only shortly before the cin- emas closed but also before the key parliamentary elections, after which the hegemony of the po- litical party SMER-SD began to crumble. [Red. note: With the exception of the period from 2010 to 2012, SMER-SD ruled in Slovakia from 2006 to 2020. In the 2012 elections, the political party gained 44.41 percent of the vote, thus until 2016 ruled without the need of a coalition partner.]

Rousing Scumbag As in the case of the director’s previous filmKidnapping (Únos), released in cinemas shortly before the parliamentary vote on the abolition of the so-called Mečiar’s amnesties, even this time the distribution premiere supported the already existing public opinion, probably benefited from it as well. The film itself is based on several media affairs which interconnect with each other, but they are also transformed into even more demonic dimensions. Politician Bobo begins to be black- mailed and protected by businessman Wagner after one wild night in 1999. Drinking only coke, Bobo happens to win the parliamentary elections in 2012, carrying out a promise to Wagner: to form a party and take control of all state structures. Bobo finds himself a young mistress, strongly re- sembling Mária Trošková [Red. note: a former photo model and assistant to the previous Slovak prime minister; her past mafia contacts came to the surface after the murder of journalist Ján Kuciak], and he rents a luxury apartment with her. His minister, in turn, is strikingly reminiscent of Ján Richter [Red. note: former Minister of Labour, Social Affairs and Family; in the controversial case of the abuse of clients in Čistý deň, a resocialisation centre for drug-addicted youth, Richter has long defended Čistý deň and its administration]. The film does not only imply the minister’s abuse of the client of the resocialisation centre but even her brutal murder. Actions for which there is still no clear evidence are often hyperbolised inScumbag , and the accusations of real people are suggested. The murder of a journalist, who took interest in Wagner’s frauds, and his fiancée is accen- tuated as especially frightening since the young woman’s pregnancy is suggested beforehand. Although the film presents fictional stories and characters, they are too conspicuously inspired by the real ones: as evidenced by similar names, physiognomies or details that have become Servants — part of the domestic media space. Unlike Kidnapping, which was based on Christian symbolism and respect for the faith, in this film, Čengel Solčanská happens to integrate the influential busi- nessmen’s efforts to take control of the church. All cases are interconnected, which at the same time excessively complicates the storyline and leaves the impression that the forces of good and evil → are, in fact, personified only by a handful of people – to of members of the Catholic Church with the communist snowball fight against the background of a huge socialist- History of Slovak Cinematography from 1997, has meanwhile the citizens’ utter astonishment, the only thing left is to regime in Czechoslovakia. As a consequence, the mem- -realist monument signals the limits of playfulness. become a cult classic in certain circles, remaining one of stand by and watch how their personal assumptions about bers of the underground church become the victims. the films that most convincingly depict the atmosphere the powerful being rotten to the core are confirmed. The The film has several ambivalent characters, whose psy- No Cheap Exotics, Neither Real Adventure of the “Wild 1990s”. The trio of undisguised sexist friends final song,Slovensko moje, otčina moja (My Slovakia, my chology is portrayed only through inconspicuous details: Unlike the films Scumbag and Servants, the third roam the neglected Bratislava, appearing as postmodern fatherland) comes across ironic but rousing at the same At the beginning of the film, the priest rejects alcohol due film, which premiered last year, avoids politics. In the con- players and flaneurs at the same time, in anticipation of time – the film is intended for viewers who have already to stomach problems. After being gradually blackmailed, text of contemporary Slovak cinema, Martina Saková’s a monetary reward for masking the tracks of a thief of 2020 in fiction film formed an opinion on the coalition (at the time of its however, he begins to drink at home; a man in charge of Summer Rebels (Letní rebeli) is indeed a welcome film for Andy Warhol’s painting. Calling themselves actors, they release still in power). monitoring the Faculty of Theology, played by Romanian children. After Iveta Grófová’s (Piata loď), bear the names of the real actors who portray them. Their

45 Little Harbour

— actor Vlad Ivanov, suffers from a worsening skin disease feature films with a child-hero set in the present day have actions are often impulsive, the expression affected. Like Evil, Beautiful Images and Intergenerational Affinity for which he no longer has a cure. Hypnotic singing, noises again become an almost non-existent species. This time, the heroes of the early films of directors Juraj Jakubisko Ivan Ostrochovský played it relatively safe with and music evoke an atmosphere of tension and horror, Jonáš from Dresden, the protagonist of the film, decides and Elo Havetta, the characters do not have a job and his second feature fiction filmServants (Služobníci), albeit underlining the demonic nature of the regime that eats to spend the summer with his beloved grandfather in avoid stable partnerships. Instead, they indulge in their 44 in a different sense. It depicts the functioning of State its own children as well. Although the episodic characters Slovakia. Fortunately, the film avoids cheap exotics, but own feelings of madness and playfulness. The film -ex Security during the normalisation period. The form, adapt- are remarkable, the film paradoxically lacks a deeper psy- its co-production character is revealed in speech: Czech, presses concern about the values of the lost generation ed to the current trends of festival films, is also relatively chological portrayal of main characters, two young men Slovak and German are spoken, although it is “only” a Slo- of the thirty-somethings and emphasises the thin line

Summer Rebels — Scumbag —

safe. Nevertheless, it is rather exceptional, probably the best who are just beginning to study at theological faculty. vak-German co-production. In the town of Handlová, between artists and criminals. At the same time, how- local fiction work last year. The film was made in a Slovak- We learn almost nothing about their past, motivations, Jonáš meets the peculiar boyish Alex, and together they ex- ever, it manages to portray the protagonists mainly as -Romanian-Czech-Irish co-production and, through some opinions. In addition, many visual details are on the verge perience typical summer adventures and business games artists of life. episodic characters played by well-known Slovak directors of a cliché: A recurring shot of unanimously raised hands as well – for example, they try to sell flowers, however, From the perspective of majority cinema, the Martin Šulík, Robert Kirchhoff or Marek Kuboš, brings during a session of Pacem in terris movement, which was as a result, the cultivated flowerbeds of Alex’s mother are year 2020 is relatively inhibited. The Auschwitz Report forward the intergenerational affinity of Slovak filmmak- collaborating with the regime, appears exaggerated, a re- destroyed. Unlike Little Harbour, which had art ambitions (Správa) by Peter Bebjak, Cook, F**k, Kill (Žaby bez jazyka) ers. Ostrochovský’s black-and-white camera is inspired curring shot of washing muddy shoes after the murder of and aspirations to appeal to children and their parents, by Mira Fornay, The Man with Hare Ears (Muž so zajačími by 1960s cinema, although the story takes place more a secret church’s priest has too clear connotations. The cards as well as to disturb them, Summer Rebels is more of ušami) by Martin Šulík, Perinbaba: Two Realms (Perinbaba than a decade later, in the early 1980s. Not only the camera are clearly dealt in the film, and precise work with sound a summer family film without serious conflict. It lacks a dva svety) by Juraj Jakubisko and also Zuzana Marianko- refers to the Polish black-and-white film Ida – the British clearly draws the boundaries of evil as well. Nevertheless, the pace and real adventure to be able to compete with vá’s debut Perfect Strangers (Známi neznámi), all scheduled screenwriter Rebecca Lenkiewicz, in this case in collab- the film retains a degree of mystery, and some of the shots successful foreign works. for 2020, are still waiting for distribution premieres. We oration with Slovak screenwriter Marek Leščák and the are downright beautiful: for example, a shot of a tiny court- In 2020, the renewed premiere of Štefan Semjan’s must hope that some of the positive values that the past film’s director, co-wrote the screenplay of Servants as yard of the Faculty of Theology, where students, shot from digitally restored debut On the Beautiful, Blue Danube year has brought, such as the room for silence and tem- well as Ida. a bird’s eye view, play football or hang clothes, which (Na krásnom modrom Dunaji) also took place. The film, porary slowdown, will be reflected in the future in new, Servants’ theme revolves around the collaboration emphasises the limits of freedom; the scene of a winter which is described as almost amateurish in the book perhaps different topics and ideas. ◀ — text: Erik Binder — photo: Blackout productions, PubRes, promovie, HITCHHIKER Cinema, K2 Studio — 2020 in documentary film 47 — Portraits 46 and Retro- spections

When considering the common denominator of last year’s Slovak documentary production, or co-production with Slovak representation, portraits and (not only) related intriguing and diverse retrospections come to mind.

While the year 2018 was marked by several important anniversaries, to which, of course, the attention of documentary filmmakers was also drawn, the common de- nominator was more challenging to find the following year. Eventually, in various forms, it manifested itself in the subject of death. The year 2020 brought a total of 11 Slovak or co-produced documentaries, released in cinemas. However, it facilitated the corona- virus-induced crisis, which impacted production, distribution and is probably to affect the situation in 2021 as well. Nevertheless, the year 2020 offered a diverse mix of docu- mentary production, as further seen by mentions of Bruce Lee or Arnold Schwarzenegger, referenced in the article. By no means a joke, it is, in fact, an allusion to Video Kings (Králi videa), probably the most original Slovak-Czech documentary of the past year when considering the theme.

Portraits of “the Czechoslovak Golden Boys” Portraits of well-known Slovak, Czech or rather Czechoslovak (translator’s note: the term indicates cultural affinity, not citizenship of the former republic) personalities, played the first fiddle in the last year’s production, and the figure of speech truly applies to the protagonists. Let’s start with art – music, acting, directing and fine art. The Czech and Slovak (not only art) worlds are still significantly interconnected, and Miroslav Žbirka, Milan Sládek, Patrik Vrbovský or Jan Švankmajer are so well known on both sides of our short border that labelling them on the ground of nationality loses its meaning. Furthermore, no one frets whether the films were shot by a Slovak or a Czech. All four personalities are, so to speak, “our golden boys,” although certainly not to the same degree for everyone. Let’s start with the musicians. Šimon Šafránek’s Meky is a relatively comprehen- sive portrait of Miroslav Žbirka, the Czechoslovak John Lennon, whose career path remains breathtaking to this day. The current young generation will gape at his incredible music sales in the 1980s and the circumstances in the society of that time as well, the older ones will marvel at the “declassified” information about Meky’s creative and financial dis- Video Kings — agreements with his multi-talented colleague Laco Lučenič. However, the director keeps the confrontations at bay, the work does not bear anything controversial eventually, after → all, the music aspires to delight us and provide a dis- filmAlchemical Furnace (Alchymická pec) documenting several times and finally took place just before the for foreign investors, however, it does not grant them traction from reality for a moment, and not just from his work, philosophy and private life could not look December lockdown and another cinemas closure in the right to behave similarly. A few activists from three the totalitarian one. interchangeable or bear an ordinary title. The term “al- Slovakia. Maybe even the future generation will not East Slovak villages are fighting the oil conglomerate, Patrik “Rytmus” Vrbovský already has his “own” chemical furnace” is a metaphor for the film company believe our present times, unless the film about it is trying to prevent the economic colonisation of Slovakia. film.RYTMUS: A Dream from the Block (Rytmus: Sídliskový Athanor that produced the master’s films. to be directed by Lukáš Bulava, for example. At the same time, in order to be impartial, the opposite sen, 2015) was a smash hit. Tempos did not cause such Let’s finish with hockey. No more metaphors, Seemingly, neither Paradise on Earth (Raj na side also gets a word in edgewise, and those who are not sensation, although the popularity of the hip-hop scene Laco Nagy is a real golden boy, as he boasts a gold medal zemi), a portrait of journalist and photographer Andrej experts in ecology and industry (though commendable, in the Czech Republic and Slovakia has not declined from the Ice Hockey World Championships. Neverthe- Bán, directed by Jaroslav Vojtek, is set in the “Stone Age.” activism is not an exact science and too self-absorbed) significantly since then. In fact, the film was released less, a lot of time has passed since 2002, and the film Unhappy images from areas such as Iraq, Georgia and may have a hard time keeping up. Nevertheless, the arro- 2020 in documentary film at an unfortunate time at the end of February, a week Ice-Hockey Dream (Hokejový sen) inevitably documents the territory of the former Yugoslavia are marked by gance of the powerful and the deliberate violation of the

49 before the cinemas closed due to the anti-pandemic the decline. The film was originally supposed to end recent and current war conflicts, so even the Stone law can ultimately amount to digging one’s own grave.

— measures introduced in early March. In contrast to during the “unfortunate” 2019 World Championship Age is a flattering remark in relation to the initiators Unaffected by slogans and labels, Pavol Barabáš

48 A Dream from the Block, Tempos focuses on the origin in Slovakia, regardless of the result, so Marek Vaňous of these colossal crimes. Paradise on Earth tries to be presents his next expedition to beautiful nature. To- and history of hip-hop in Slovakia, in parallel with the worked with the material, so to speak, as he went along. both: a portrait of a personality and an account of the gether with Barabáš and his team, we will abseil some

career of Rytmus and his rap group Kontrafakt. Thus, Thus, the fact thatIce-Hockey Dream does not look like gloomy times. The facts about horrible events, however, of the highest waterfalls in the world. Salto is the King dramaturgically speaking, Tempos is clearer and strictly a swan song of Slovak hockey is perceived as rather outweigh the information about Andrej Bán’s person- (Salto je kráľ) features author’s contemplation of the follows the chronology, so ultimately it resembles more commendable. Following the story of a young hockey ality in the end, and the document implicitly raises problems of society again, metaphorically also as if they the biographical documentary Meky than the search talent, it also provides Slovakia’s (still?) the most pop- the question of whether our mentality is still that were from the Stone Age – the inhabitants of Venezuela, for Patrick’s roots in A Dream from the Block. It will take ular sport with some hope for the future. Though less of a caveman. or its visitors, surely have stories to tell. If it was not

Meky — Ice-Hockey Dream — The Golden Land — Salto Is the King —

some time to see if Rytmus is to become a legend like smooth in dramaturgical sense, in this case it is not Whatever the answer to this question, poten- enough and you would fancy finding yourself in absolute Meky, or how many documents will be made about a hindrance, moreover, several Slovak documentarians tial discussions about human nature can also be sparked isolation, separated from the civilisation’s dead weight, the #1 Slovak rapper until then. struggle with similar problems when sketching. off by the confrontation of the viewer and film’s pro- then for a little over an hour you can opt for Antarctica, Let’s continue with the performing art and film. tagonists with online sexual predators in the staged ergo, the experimental documentary FREM by Viera Martin Šulík’s documentary Milan Sládek offers a por- Portraits of “the Stone Age and the Wild East” documentary Caught in the Net (V sieti). In the Czech Čákanyová. trait of the world-famous Slovak mime. Viewers witness in the Time of the Coronavirus Republic, the film became the most visited documentary It cannot be predicted with absolute certainty a cross-section of the acting genius’ work, from his be- The creators of the documentary Video Kings in modern history, seen by record-breaking 179,139 view- what the year 2021 will bring (if we do not count the ginnings to the present, which also paints a picture of did not embark to prehistory but only to the 1980s and ers during the first week of screening alone. Before the postponed premieres), although the past turbulent year the totalitarian period, a large part of which Sládek spent 1990s. The crazy era of voiceover, recording American, cinemas closed during the first wave of the pandemic, with a quasi-only global theme, affecting all areas of in exile. Rare archival footage alternates with “talking Asian or Italian commercial films with actors such as more than 300,000 viewers came to see the film. In our lives, could be giving us a hint. ◀ heads,” whether it is the protagonist or his publicly Bruce Lee or Arnold Schwarzenegger on videotapes Slovakia, during the first few days of the screening, not known friends or other famous personalities. In this and subsequently dubbing them, even over the phone, even a whole week before the cinemas closed, there were case, however, the “talking heads” do not constitute sounds now like an alternative past from the universe more than 6,500 spectators. a worn-out cliché but rather an inseparable convention in which you would not wish to live, probably. For those Dominik Jursa’s The Golden Land (Zlatá zem) of this genre. On the other hand, it is one of the reasons who have experienced it, however, this fan work pro- comes across as a documentary remake of some older why Milan Sládek seems to be the most conventionally vokes nostalgia that is rarely exposed and felt. When American western dealing with the colonisation of a new shot documentary work of the past year. In contrast, retold, few people who were born after the fall of the land and even humorously plays around with elements the experimental surrealist Jan Švankmajer deviated previous regime will believe the film’s content, so it is of this genre. Today, after the legendary Wild West long from the conventions throughout his work, so the unique truly a great pity that the premiere date was moved gone, Slovakia also constitutes a new, “golden” country — text: Eva Šošková — photo: FTF VŠMU, RTVS, BFILM, FAMU/Adela Križovenská — 2020 in animated film 51

— No Need

50 for Home- bodies to Remain Idle

It seems that the pandemic has not yet had a major impact on Slovak animated film, in contrast to other cultural sectors. Its production and distribution naturally tie to home spaces – small, closed studios or desktop computers at home for making the films; watching movies online when distributing them: Both are ever-present in the case of animation. Perhaps perceived as a drawback in normal conditions, it has become an advantage during a pandemic, thus the work continues.

In the second half of last year, the Association of Slovak Film Clubs (ASFK) distributed films, which have been discussed in previous reviews: SH_T HAPPENS (2019), screened as a supporting film for the PolishCorpus Christi (dir. Jan Komasa, 2019), and Poetika Anima (dir. Kriss Sagan, 2018) screened prior to the main filmBabyteeth (dir. Shannon Murphy, 2019). Both works were successful at various festivals. Filip Pošivač and Barbora Valecká’s Overboard! (Cez palubu!, 2019), a pilot for the upcoming series, completed its festival journey as well. Screened prior to Czech animated film Hungry Bear Tales by Alexandra Májová and Kateřina Karhánková (Mlsné medvědí příběhy, 2020), it was also distributed to cinemas by the ASFK.

As Seen at Anča Last year, SH_T HAPPENS by Michaela Mihályi and David Štumpf won the Slovak Award at the Fest Anča International Animation Festival: a clear favourite by virtue of its humour, original storytelling, breaking the taboos and complex systems of meanings. In the competitive section, the festival, held in the city of Žilina, show- cased even more films that received their premiere on the big screen. Though less strik- ing compared to SH_T HAPPENS, they offered looser interpretative frameworks. Screened at Fest Anča, Fruit of the Days (2020) by Peter Martinka, alias Szilard Kardiak, and his colleague Sebastian Kardiak is not only produced independently but also, as expected, independent of the easy-on-the-eye aesthetics, elaborate animation or audience-friendly narration. As ever, the Kardiak duo went “punk” and created → SH_T HAPPENS — an absurdly funny film, full of vaguely motivated intertextual references. Marián Vredík and Jana Vredík Hirnerová par- The documentary focuses on institutional care for so- ent from Slovak animators to children, the emphasis film industry. With around 1,600 followers so far, Facebook ticipated in the competition with non-narrative chalk- cially excluded children, an issue that is still overlooked was put on the educational aspect. Looking back, new page Čo pozerať s deťmi (What to Watch with Children) sys- board animation – a music video for the song Pudesse eu in Slovakia but represents a necessary extension of the animated bedtime stories or a Mimi & Lisa (Mimi a Líza) tematically educates not only children but also parents. (2019) by Clube de esquiar, a post-rock band from the city politically preferred topic of abortions. Christmas special Christmas Lights Mystery (Záhada In a very accessible manner and with regard to rais- of Banská Bystrica. They demonstrated a greater sense vianočného svetla, dir. Ivana Šebestová and Katarína ing awareness, Ivana Laučíková selects mainly short of audiovisual rhythm than Lívia Suchá, who was com- Online and on TV Kerekesová, 2018) were broadcasted on RTVS on Christ- films available online, thus cultivating the audiences’ peting with a similar video for the song Spiders (2019) While Fest Anča managed to be held in person mas. Last year, however, Veronika Kocourková took taste. Thematic, technological and national criteria, 2020 in animated film by a lo-fi indie bandUnstrung Harp. in Žilina during the pandemic time, the Student Film over with a Ka-Boom! Christmas special. At first glance, as displayed on her blog, are considered. The viewers’

53 Agáta Bolaňosová, from the Academy of Festival Áčko took place online. This year, an animated her filmCate Strophe Saving Christmas (Kata Strofová film horizons broaden (their focus is usually narrowed

— Performing Arts in Bratislava, competed with her older film about nuclear tests in AmericaDaylight (2020) by a tajomstvo snehových vločiek, 2020) appears as a regular down to the 3D series aesthetics and the narration of filmCrossing (2018). Regarding animation, composition Michaela Hýbelová, a student at the Visual Effects seven-minute episode of the series. The portrayed events family 3D films), but they are also provided with some of mise-en-scène and themes, she is greatly inspired by Department of the Film and Television Faculty of the are, however, spread across the expanded running time options of how to interpret the works. After a large-scale

52 anime and Asian culture. Her previous works and the Academy of Performing Arts in Bratislava, entered the of 20 minutes. Although the film loses the typical dynam- and more professionally conceived project Homo Felix, second film, in the non-competitive section, Chestnut competition. Unlike the Animation Department, the ics of a visual and information whirlwind, its action and a journal and online platform founded and headed by Boy (Gaštanko, 2019) explore the themes of death and Visual Effects Department mainly produces realistically clip aesthetics, it becomes more accessible and under- Laučíková, she came up with yet another substantial the afterlife by using horror-style devices, whileChest - oriented mise-en-scène films created with 3D anima- standable. In a typical Christmas film, what prevails is medium to educate (not only her) audiences. nut Boy’s fine cartoon animation appears quite chilling tion technique. the Christmas atmosphere, sentimentality and pathos. Compared to 2019, fewer projects premiered in

Chestnut Boy — Cate Strophe Saving Christmas — The Kite — Forget Me Not —

when set in juxtaposition with the story. International festival Biennial of Animation Here, education remains the main objective, manifest- 2020, although such circumstances are not unusual in The competition also showcased films from last Bratislava (BAB) has divided its programme, and films ing the civil aspect at Christmas time. the animated film industry. The production of this type year’s distribution: Music Box (dir. Joanna Kożuch, 2019), were screened online or broadcasted via public tele- of work takes a long time, thus the number of completed Wild Beasts (dir. Marta Prokopová and Michal Blaško, vision service RTVS (Radio and Television Slovakia). New Situation, New Ideas projects is higher in some years than in others. At first 2019) and Trust Me (dir. Zlata Golecová, 2019), screened at The new management of the festival as well as the new From a new situation, new ideas are usually glance, the year 2020 did not have a negative effect on last year’s Student Film Festival Áčko. Children’s films form of distribution significantly increased the num- born, and the coronavirus crisis brought several of them. Slovak animated film. The total number of projects were represented by already their favourites: Rocket ber of spectators. Thanks to dubbing, the films became In its online archive, RTVS made available Slovak bed- applying for financial support from the Slovak Audio- (Raketa, 2018), an episode from The Tots series (Drobci), even more accessible to children’s audiences. The main time stories from the last ten years (animators were surely visual Fund was also comparable to 2019. In 2020, Slovak and The Flood (Povodeň, 2019), an episode from the Ka-Boom! prize was awarded to already acclaimed film The Kite delighted by huge traffic). Czech and Slovak artists drew animated films constituted a significant part of domes- series (Tresky plesky). The latter, by Veronika Kocourková, (Šarkan, 2019) by Slovak director Martin Smatana. pictures and animated short videos about isolation tic screenings. Due to the longer production of films, received the Anča Slovak Award: Special Mention in In addition to BAB, new episodes of an ani- within the Domased (Homebody) project. Staying-at- however, the effect of the changes is delayed. A funda- the domestic competition. mated family-friendly series about good manners The home director Martin Šulík also pursued animation – mental and problematic change in the coming years may Speaking of the non-competitive Slovak section, Smarts (Chochmesovci, dir. Róbert Šveda, 2018–2019) intended only for friends, however. Last but not least, be, particularly, a decrease in the funds that will be dis- I was most captivated by the animated documentary and a puppet series combined with animations Headies director and producer Ivana Laučíková became an online tributed by the AVF, as contributions from subjects doing Forget Me Not (Kdo se se mnou zatočí, 2019) by Adela (Hlavule, dir. Gejza Dezorz, 2020), presenting notable curator of publicly available animated films for children. business in the audiovisual sector will also drop. ◀ Križovenská, a Slovak author studying at the Film and figures from Slovak history, were broadcasted on tele- In particular, the latter inconspicuous idea ranks among TV School of the Academy of Performing Arts in Prague. vision. Similarly, regarding the annual Christmas pres- the most important events of the year in the animated — text: Miro Ulman / Audiovisual Information Centre at the Slovak Film Institute — photo: CinemArt SK/Lukasz Wojciechowski — Distribution of Premiered Slovak and Co-production Films in Slovakia in 2020 /

100% Slovak films and Majority Co-Productions

slovak title director year of country of premiere number of visitors gross box distributor feature aapc* / english title production origin date screenings office (€) distribution in 2020 1. Sviňa / Scumbag Mariana Čengel 2020 SK/CZ 06-02-2021 4,243 395,604 2,527,862 CinemArt SK F 93.24 55 Solčanská, — Rudolf Biermann Year 2020: 2. Tempos Nazarij Kľujev, 2020 SK 27-02-2020 816 23,491 150,015 Continental Film D 28.79 Roman Kelemen, 54 Maxim Kľujev Scumbag Versus Pandemic 3. Meky Šimon Šafránek 2020 SK/CZ 16-07-2020 975 10,960 61,733 Magic Box D 11.24 The year 2020 started very promisingly. As of 8 March, four weeks after its premiere, the thrillerScumbag Slovakia

(Sviňa, SK/CZ, 2020, dir. Mariana Čengel Solčanská, Rudolf Biermann) became the second best-attended domes- 4. Hokejový sen / Ice-Hockey Dream Marek Vaňous 2020 SK 09-07-2020 847 5,318 25,113 Bontonfilm D 6.28 tic film in the era of independence, seen by 389,358 viewers. However, due to the increased spread of COVID-19 5. Letní rebeli / Summer Rebels Martina Saková 2020 SK/DE 13-08-2021 625 4,416 20,704 CinemArt SK F 7.07 disease and subsequent protection of the health of visitors, for the first time, all cinemas in Slovakia 6. Salto je kráľ / Salto Is the King Pavol Barabáš 2020 SK 13-08-2020 225 3,594 13,620 ASFK D 15.97 were forced to close on 10 March. 7. Služobníci / Servants Ivan Ostrochovský 2020 SK/RO/CZ/IE 10-12-2020 143 1,442 5,087 Filmtopia F 10.08 Until their closure, Slovak films were seen by ap- films –SH_T HAPPENS (CZ/SK/FR, 2019, dir. David Štumpf,

proximately 680,000 viewers. By the end of 2020, the number Michaela Mihályi) prior to Corpus Christi (PL, 2019, dir. Jan 8. Raj na zemi / Paradise on Earth Jaro Vojtek 2019 SK 01-10-2020 78 742 2,249 ASFK D 9.51 increased by merely 100,000. Nevertheless, it should be Komasa), Poetika Anima (SK, 2018, dir. Kriss Sagan) prior to noted that cinemas in Slovakia had to be closed for 116 days Babyteeth (AU, 2019, dir. Shannon Murphy) and Overboard! 9. Zlatá zem Dominik Jursa 2020 SK 25-6-2020 36 364 999 Film Expanded D 10.11

last year, so for almost a third of the year! In addition, after (Cez palubu!, CZ/SK, 2019, dir. Filip Pošivač, Barbora Valecká) 10. Milan Sládek Martin Šulík 2020 SK 8-10-2020 51 153 566 ASFK D 3.00 their opening, the seating capacity had to be radically re- prior to the animated film Hungry Bear Tales (Mlsné duced, which is why the premieres of almost twenty domes- medvědí příběhy, CZ, 2020 dir. Alexandra Májová, Kateřina 11. Králi videa / Video Kings Lukáš Bulava 2020 SK/CZ 17-12-2020 27 66 284 Continetal Film D 2.44 tic films were postponed to 2021. Karhánková). Let’s take a look at the distribution of Slovak films Štefan Semjan’s On the Beautiful, Blue Danube SUBTOTAL 100% Slovak Films and Majority Co-Productions 8,066 446,150 2,808,232 55.31 from the statistical point of view. The total attendance in (Na krásnom modrom Dunaji, SK, 1994), digitally restored by

Slovak cinemas fell by 63.78% year-on-year, to 2,364,814 spec- the Slovak Film Institute, had its renewed premiere as well. Minority Co-Productions tators. This is the lowest number since Slovakia gained inde- The results of premiered films do not include the pendence. In particular, the attendance of domestic films numbers related to The Auschwitz Report (Správa, SK/CZ/DE, 1. Príliš osobná známosť / Marta Ferencová 2020 CZ/SK 16-01-2020 2,987 176,080 1,077,006 Continental F 58.95 dropped by 27.86%. 2020, dir. Peter Bebjak), which was screened for one week in Far Too Personal Film

Apart from such declines, the pandemic caused one a cinema in Čadca in order to meet the conditions required 2. Šarlatán / Charlatan Agnieszka Holland 2020 CZ/IE/PL/SK 20-08-2020 1,375 27,671 160,617 CinemArt SK F 20.12 sharp increase. As a result of the premieres of American for the National Film Awards Slnko v sieti registration blockbusters being postponed to 2021, the share of domestic and the Academy Award submission in the category of Best 3. V sieti / Caught in the Net Vít Klusák, 2020 CZ/SK 05-03-2020 1,457 23,518 138,342 Filmtopia D 16.14 Barbora Chalupová films attendance increased throughout Europe. Slovakia was International Film, nor screenings of (Žaby Cook, F**k, Kill no exception. Considering the total attendance, the share bez jazyka, CZ/SK, 2019, dir. Mira Fornay) and Shadow Country 4. Bourák/The Banger Ondřej Trojan 2020 CZ/SK 02-07-2020 859 5,130 30,570 Forum Film D 5.97 of domestic films (including non-premiere titles and mino- (Krajina ve stínu, CZ/SK, 2020, dir. Bohdan Sláma), which rity co-productions) was 4.21% in 2018, it increased to 16.47% were screened only at Prague International Film Festival – 5. FREM Viera Čákanyová 2019 CZ/SK 17-9-2020 39 689 1,129 Film Expanded D 17.67

in the following year and roughly doubled to 32.79% in 2020. Febiofest. All three films are still waiting for their dis- 6. Staříci / Old-Timers Martin Dušek, 2019 CZ/SK 10-9-2020 99 646 1,814 Filmtopia F 6.53 Two works enjoyed almost 74% of the total number tribution premiere. Ondřej Provazník of 775,487 viewers of domestic films: previously mentioned The best-attended domestic documentaries were Scumbag (395,604 viewers) and Far Too Personal (Príliš Caught in the Net (V sieti, CZ/SK, 2020, dir. Vít Klusák, Barbora 7. Milosť / Pardon Jan Jakub Kolski 2018 PL/CZ/SK 16-1-2020 68 517 1,521 ASFK F 7.60

osobná známosť, CZ/SK, 2020, dir. Marta Ferencová – 176,080 Chalupová – 23,518 viewers), a minority film focusing on child 8. Modelár / Droneman Petr Zelenka 2020 CZ/SK/SI 3-12-2020 55 241 922 ASFK F 4.38 viewers). The latter became the most successful minority abuse on the Internet, and Tempos (SK, 2020, dir. Nazarij co-production. Together with And A Happy New Year (Šťastný Kľujev, Roman Kelemen, Maxim Kľujev – 23,491 viewers), 9. Alchymická pec / Jan Daňhel, 2020 SK/CZ 15-10-2020 18 66 138 ASFK D 3.67 nový rok, SK, 2019, dir. Jakub Kroner – 78,113 viewers), which a majority documentary about Slovak rapper Rytmus. Alchemical Furnace Adam Oľha

premiered on 5 December 2019, exclusively domestic films Slovak films were released to cinemas by seven dis- SUBTOTAL Minority Co-Productions 6,957 234,558 1,412,061 33.72 were in the top three of best-attended films in Slovak cine- tribution companies, the most active of which was the Associ-

mas for the first time in history. ation of Slovak Film Clubs with seven domestic premieres. TOTAL All Slovak and Co-Produced Premiered Films 15,023 680,708 4,220,293 45.31 While forty-three Slovak feature films and cycles It is gratifying that, despite the pandemic and re- were screened in 2019, only twenty new releases took place strictions, the average attendance per film screening of an TOTAL 17,065 775,487 4,744,271 45.44 in 2020 (nine feature films – of which seven are minority exclusively Slovak film or majority co-production rose from co-productions; eleven documentaries – of which three are 49.30 viewers in 2019 to 55.31 viewers in 2020. Considering * AVERAGE ATTENDANCE PER SCREENING

minority co-productions) and one renewed premiere. The feature films,Scumbag had the highest average attendance source: Union of Film Distributors of the Slovak Republic Association of Slovak Film Clubs has released three short (93.24), and Tempos (28.79) came out on top among documen- note: Films are arranged by the number of viewers Slovak animated films that were screened prior to the main taries. ◀ Slovak Film Institute Special features: • Two contemporaneous short and Second Run present • Presented from the new films reflecting the locale and a Slovak film classic 2K HD master milieu of the film: Operation • A Conversation About BL (Akcia BL, 1959) and High Peter Solan and His Film Tatras (Vysoké Tatry, 1966) ‘Before Tonight is Over’ • A 20-page booklet featuring (2020) – a newly filmed new writing on the film by appreciation of the film author Peter Hames Before Tonight is Over (Kým sa skončí táto noc)

dir. Peter Solan (1965)

World premiere on Blu-ray Released on June 14

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Slovak classics available on Blu-ray and DVD by Second Run Buy direct from secondrundvd.com

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