NinadeL

A tasteful romance set against the backdrop of the Austro-Prussian War of 1866. The opening is a nicely-defined melodrama set in an auditorium during a reprise of Verdi's "The Troubadour." At times as moving as Angelique, at times more dramatic than Dishonored. A lavish experience.

Visconti and I never really got along - his world of actors darlings in authentic backdrops, social commentaries, morality that suffers from many taboo topics, grand gestures and vanity observed as if from the safe distance of the director's chair from the detached intellectual... That's not the world I want to deal with. However, the ideas here on how to tame the stoic Burt Lancaster, the dissolute Helmut Berger, and the eloquent Silvana Mangano are quite attractive to the audience. If it weren't for the chilling irony inserted at times, it would have been impossible to experience it.

A lovely single summertime watch. The chemistry between Skarsgård and Robbie works, with Jackson and Waltz complementing them in their classic acting positions. It was a very good choice to retell not the origin, but the return of Tarzan to Africa. I’m satisfied with it (although I've never really gotten into any Tarzan, including the statuesque Lex Barker). Lambert's best Tarzan to date has a good successor.

Despite the anti-symbiosis that has occurred between the viewer and Samir's film Hany, it is a joy to watch both his and Sadek's film The Noonday Witch. As a mirror of the literal transcription of F. A. Brabec, we finally have a working reinterpretation. In terms of the acting, it’s all about Aňa Geislerová, seconded by the magnificent Daniela Kolářová. The thick summer, decent gore, and a theme so natural to the contrasts between satire and creeping horror. It was a risk that paid off. The Czech environment is very well suited for smart and risky projects.

This is a film that has supposedly become a generational statement. But I must add for myself that it was not communicated to me then or now. The forcibly inserted elements of UFOs, stoners, and the Japanese bring only empty dead ends and once again we are left with the classic "they parted at the beginning and reunited at the end" arc. Where is the added value? I suppose that the young people of that time were not particularly enthusiastic about either the Germans or Maciuchová. So, in summary, the Prague atmosphere and the La Casa blů bar are once again the best things about it for me.

Is this a feature film or a docudrama? Somewhere at the beginning of the new fad of Czech cinema is this Sedláček film, which is followed by things such as Polski film or Lost in Munich. Do we really need this?

A Czech plasterer vs Czech whore in the realities of Czechoslovakia. It's a nice idea. The eccentricity from the period reality and the musical inserts create a truly Dadaist collage. Yet if it weren't for the emeritus Oldřich Nový and Jiřina Šejbalová, who fell in love with Menšík's humor ex-post behind the scenes, I wouldn't appreciate the retro flicks about the First Republic.

I have a rather futile feeling about the simple fact that in essence, Michal Hrůza's eponymous video clip is a better watch. However, some of the sub-elements contained in this work are worthy of attention. This means that even Hřebejk's theatrical diary serves only half the purpose. But it's still a much better experience when I think of the dysfunctional Garbage, the City and Death.

A family polygon of life and about life as it is. As a bonus, there are two successful cameos by the then-award-winning young prodigies Geislerová and Hádek. This is very good for viewers used to interacting with film.

This is the most emotional film of the golden 1990s. Pure gold at the end of the wildest decade of Czech cinema. Perhaps for the first time, I appreciated Dostoevsky's hero, because this one, transplanted entirely into a new context, is still the same, but all the more immortal.