Innocence

In the first decade of his directing career, Hřebejk aroused expectations and with at least two titles, he managed to tune in to the needs of Czech society to reconcile so that the wolf would be fed and the goat would remain whole, along with recent history. In later times, his work instead caused doubts. He acts as a shooter suffering from conjunctivitis, so he relies on his instincts and blindly fires. Maybe it will work out. In the context of this trend, Innocence is relatively passable, but in no way good. It is decently directed, and even Geislerová performs decently, but two stories in one are too much. I would have been content with one criminal case seen through to its end, where it would be about a broader statement about the time and society, and where I wouldn't feel constructiveness, greed, and creative helplessness. I will leave three stars because as part of Czech contemporary production, it is still above average, but I won't raise my overall impression above 50%. (21/11/2019)

While I don’t like comparing, a comparison with the Scandinavian movie The Hunt is at hand. It concerns a similar topic – the abuse of children. In this movie Jan Hřebejk really dug into it and the first half was flawless. Ondřej Vetchý, Anna Linhartová and Hynek Čermák showed really incredible acting performances. However, as soon as this part of the movie unexpectedly quickly closed, Aňa Geislerová entered the scene with the craziest character I’ve ever seen her play on TV and the whole movie suddenly entered a completely different dimension. I am not saying it was bad, I just think that these two ideas could easily function in two movies. And not just in one. (10/01/2016)

I enjoyed this Czech psychological crime drama. The cinematography and music perfectly underscored the wonderfully grim atmosphere. Hynek Čermák outshined everyone else and the young Anna Linhartová gave a very good performance. I tend to start getting bored when watching Czech films. With Kawasaki’s Rose, for instance, I got bored two minutes into the film. Innocence, however, was above average in this respect. Slightly less so in its second half but I did enjoy it and I am satisfied. (10/12/2016)

The idea of family dialogues and sweet-natured atmosphere is deeply rooted within me. So deeply rooted, that I would never attribute Innocence to the creative duo Hřebejk-Jarchovský. The script of the latter transforms from an innocent melodrama into a complex relationship-tragic fresco, where every dialogue has its firm place and no character appears in it just because. The trailer’s temptation of the Czech Lolita suddenly seems very misleading. Moreover, the way the story reveals its true nature is unprecedented in Czech circumstances. Hřebejk himself does not drag down the script with any usual softening, his perspective is exceptionally accurate this time in a suffocating image that emphasizes an unusually personal approach to the characters. In combination with excellent performances (led by the traditionally infallible Ondřej Vetchý and perfectly suited Hynek Čermák, who seems to be tailor-made for his role), this is a minor domestic film event that has quietly and unobtrusively arrived in cinemas, but now it can grow even more. 85% for a drama that only few would dare to attempt. (13/01/2011)

Hřebejk and Jarchovský made a very disturbing film that makes you feel that it couldn't get any worse, but it actually can. In the film, the status of who is actually a monster and who is an asshole changes pretty quickly, and even towards the end it's not clear how much of an asshole the character actually is. Very well written and acted. (18/03/2018)