Al-Araqeeb

A film about staging a theater performance 70 years after the events of 1948, as well as the real theater production that the whole communist coup was. Puppets seemingly without puppeteers, puppets moving about of their own free will - this is how communist comrades were and this is exactly how they’re presented in this film.  

A film about a young man discovering himself though his transsexuality. While on most days, he's a man named Víťa, sometimes he becomes a woman called Aurélie. We witness a unique insight into his physical and mental transformation with the participation of Libuše the photographer. The film consists of Libuše's photographs and conversations of the two protagonists.

This film, shot on 16mm colour film, explores the life of a person who steals things according to written lists. He takes only specific things that people need – primarily senior citizens, single mothers, and other socially marginalized people. When is a crime a crime? Where does this modern 21st-century Robin Hood live, and what do his activities bring him?

A mini-portrait, treading lightly on the fringe of a gently parodic self-portrait, of the collector/gynaecologist/animal breeder/honorary consul/Dutch/Czech gentleman Oldřich Uttendorfský. Through the panopticon of an ordinary day, we are introduced to a man in whom languages, times, and cultures blend in a way that is difficult to analyse and interpret.‬

"Igor´s Great Emotion is a game for one of the most talented post-1989 directors. Contemporary self-reflection of daredevil deeds mixes with reconstructed fragments of laboriously etherized memory. But by calling oneself a “spiritual seeker”, one cannot bury the sleeping demons forever – and so during clinical death, only instant spiritual séances can bring the director back. An attempt at laying off the sedatives and resurrecting a director who ostentatiously killed himself by publishing Diary, or: Death of the Director in order to make the world his empire through the inclusion of the occult." (Jan Strejcovský)

Home 4 is loosely inspired by Olaf Breuning’s trilogy of films entitled Home, in which the Swiss artist used an actor, home videos, and the aesthetics of trash to explore the phenomenon of home.

"As opposed to the usual trend to be a narrowly defined specialist, in an attempt at understanding the world as a whole, biologist Daniel Frynta spans the fields of zoology, ethology, psychology, anthropology, ethnography, evolution, history, religion, and culture. However, there are so many things that it slowly becomes difficult to find time for his own life." (Andran Abramjan)

The first-year workshop of the FAMU Documentary Department is led by Vít Klusák, who, together with his students, will present both the concept of the seminar as well as the films resulting from it during the 2016/17 academic year.

A montage of scenes exploring the meaning of existence, which during its brief stay on Earth finds itself controlled by a higher power, a parasite that controls all of Life, shaping it and determining time. Footage of thousands of chicks killed just hours after their birth alternate with scenes of a flowering summer garden.

A young Russian patriot realises that the Czech Republic is the best place to start a career in the Russian intelligence services. She meets with famous speakers who can share some information about Russian spies working in Prague, and she does her best to contact the Russian Embassy to offer them her services.

Lenka Benešová skillfully worked the creative process into her final project. The filmmaker’s documentary film Prostředek, about the colorful personality of Stanislav Lysák, is incorporated between episodes taken from the filmmaker’s family life and sources of inspiration. The path to a good film becomes the protagonist of this short film.

"For 40% of sick people, doctors are unable to determine what is wrong with them. In order to be able to treat such patients, they give them false diagnoses. My mother has had a headache for more than a year. She goes from one doctor to another and listens to their diagnoses. Each has his own way of seeing. None of them can help her. Who will this film help? Whose pain is it? Why does my mother have a headache and why am I making this film about her?" (Marika Pecháčková)