FAMU Presents

A journey from the big world to a lovely place, from the lovely place into a little hut, from the little hut deep into oneself.(FAMU)

“I dreamt about a house in which I could only walk up. The higher I got, the larger and more spacious the rooms were. The storeys were stripped of anything unnecessary, which was replaced by functionality. In the end, all that was left was me. Me and an emptiness without human dimension. And? Luckily, it was just a dream…” (FAMU)

A little girls’ playing with the big world reflects the connection between the world, phenomena and events. And a child that, perhaps, is also a god. (FAMU)

Is Covid to blame for the decline of village community life, or is it a universal phenomenon? Last year in the village of Vrhaveč in the Bohemian Forest, a community life full of traditions died out. Can a local band bring it back, or will their determination bring joy only to themselves? (FAMU)

The filmmaker visits the Moravian villages hit by the 2021 tornado not in search of tabloid sensationalism but in an attempt at capturing the changed mental state of their inhabitants, while asking whether the catastrophe presented the locals with a transcendental experience. (FAMU)

Switchman Jiří has been waiting for a train for 26 years. A poetic reportage from a railway line overgrown with trees even though it has not been decommissioned; it is just temporarily out of service. (FAMU)

An artificially made film about the artificially (re)created aurochs, the ancestor to domestic cattle, which is supposed to awaken not only the diversity of the landscape but perhaps also our own forgotten wildness. The film tries to answer the question of what is wild, what is natural, where wildness is an illusion and why we yearn for it so much. (FAMU)

A film of useless decisions and missed opportunities. Can one identify with something that voluntarily has no identity? A cinematic metaphor for the inability to change. (FAMU)

A short film full of security cameras and the filmmaker’s opinions about them. We learn about all the places that little technological eyes are watching us and join the filmmaker as she tries to find out whether there is any way of hiding from them. But experts in the field and a middle-aged Croatian try to explain that her sharply negative stance towards cameras is exaggerated and that there is nothing to fear. Will the viewer begin to fear cameras along with her – even the one used to shoot this film? (FAMU)

The Covid pandemic cut off senior citizens living in homes from their families. In an attempt at understanding this isolation, the filmmaker decided to spend ten days with her camera locked up with them. In this newfound closeness to old men and women yearning for human contact, she sought out stories and wisdom. After having spent several years volunteering at a rest home and two years after listening to a love story about a nurse and her client, the filmmaker spends eight days in a home for senior citizens. She wants to find out what forms love can take behind the wrinkles. To explore its recent forms, what memories remain, how it can be experienced. And to learn whether it is possible to depart without it or whether it is inevitable. (FAMU)

Vanesska, a 13-year-old girl, is getting to know herself again with her new (dis)ability. Through a magical journey towards the depth of acceptance, she becomes who she ought to be. (FAMU/ director's text)

Distance. How far are we able to go, when the mood is thickening? Distance. How far apart are we able to be and yet still be as close as possible? Distance. One round and you are out. (FAMU/ director's note)

A cinematic poem about love, time and making a film. The filmmaker, originally a photographer, tries to show images that are real but that also have one foot in the world of the imagination. (FAMU)

The River is looking for a unknown offender, who is playing with her. Not by a accident, it leads her to the corrupted police officer. The investigation is getting tangled. The River's craziness escalates until she passes away. After the new "old garniture" arrival, the River comes back as a Black water. (FAMU/ director's text)

A studio exercise conceived as stylized reconstruction of the Exctinction Rebellion's protest that took place at Zara store, on the Na Příkopě boulevard. Combining acting and an authentic testimony of twenty years old girl Néa, the film aims to reflect the inner states of mind that activists experience during the tough moments of "direct action". (FAMU/ director's text)

Nóra and Olivér have been active members of the occupation of the university building as part of protesting against the new managment of it. The film presents them after the occupation ended, preparing for an online play. Meanwhile, they have to make a decision whether to keep on resisting or receive their diplomas from the renewed institution. (FAMU/ director's text)

Politicaly frustrated masses are looking for somebody to repair all the demages caused by czech prime minister Andrej Babiš and his government, during covid pandemic. Meanwhile the society needs to deal with creeping threat of global warming and for this fight we need a real change – "revolutionary change". (FAMU/ direstor's text)

The film deals with the topic of police repression in CR, what form it can take and mainly what impacts it has on those who take on the role of the state and take steps to solve the global climate crisis. In it the author draws on her specific personal experience when last autumn she was falsely accused of blocking a coal excavator in the Vršany. (FAMU/ director's text)

A small association in Iceland called MÍR was founded in 1950 to strengthen the cultural relation between Iceland and the Soviet Union. Three decades after the fall of the Iron Curtain the association keeps the revolution alive with weekly Soviet film screenings. But is it all just nostalgia or do they have a legacy to preserve? (FAMU/ director's text)

Pavel’s childhood was strongly influenced by restitution of a huge homestead. Currently he’s thirty six years old and remained the only member of the family with will and vision to bring new life to the decaying farm. Yet due to property disputes he has no right to do so. The fatal bond with the place makes Pavel question his true identity. (FAMU/ director's text)

Can a child save the world if no one listens to him? The ninth birthday celebration becomes a struggle for a bare life. The parable of Global Warming. Catastrophe. (FAMU/ director's text)

The documentary film She's not mine follows through two parallel narratives: diary-like entries that focus on the personal experience of the disease and the conversations she has with two other women who suffer from endometriosis, as well as her partner and mother who have been close bystanders through the years. (FAMU/ director's text)

A jumble of fragmented images of a hectic city, through which the filmmaker wanders like a confused animal, trying to live in it as she talks to her mother on the phone. She is looking for things she knows: the river, flowers... but, oops, they’re plastic. People pretending to be civilized emanate a sense of animality. “We can’t hide the animal, so let’s show it in this concrete jungle.” (FAMU)

A young family decides what to have for dinner. They have to deal with unexpected difficulties while trying to get the right ingredients for the long-awaited pancakes. (FAMU/ director's text)

A peaceful landscape, four seasons and two sheep. Dried slices of bread and a shepherdess from an alternate place, where sheep have changes their roles. Their owners no longer keep them for meat and wool, but only for the peace that emanates from them. The most advanced entities decided to follow the animals. Calm stillness is the new ambition. (FAMU/ director's text)

There are various types of zagovory, Slavic word magic, which has its tradition mainly in Eastern Europe. This short movie works with the motifs of Slavic folklore, body, and natural scenery and transforms their mysterious beauty into comprehensive visuals, supplemented by a voiceover, reading some of the authentic zagovory in Russian. (FAMU/ director's text)