NinadeL

From 1964 to 1966, CBS had its The Munsters family, derived from Universal's classic monsters, while rival ABC had The Addams Family, inspired by Charles Addams cartoons, both at the same time. For viewers, such a situation is always a plus, because both concepts are liked and there is always something interesting to watch.

Martin Šulík's intimate debut on the topic of destructive relationships. While short films were Šulík's surface for finding form, he dared to look for content only in this subtle variation on all those Bitter Moons and other unlikely love triangles. But while Polanski followed his protagonists to their doom, Šulík gives them hope through catharsis. György Cserhalmi and Iva Bittová are particularly excellent.

Both of Alain Robbe-Grillet's Slovak-French films are considered crucial in the era of the search for an independent identity of Slovak cinema. However, even with the hindsight of years, one cannot think that every national cinema should have made a representative of every contemporary genre and thus proved its viability. The random images of Robbe-Grillet are interesting perhaps only because of the participation of Jean-Louis Trintignant, a classic of French cinema. Seemingly familiar stories from the era of the Slovak state are illustrated by shots with Ivan Mistrík, but their veracity disappears whenever one of the foursome of Kocúriková, Turbová, Bréal or Prado appears on the scene. Naive mannerism.

Of the few feature films by Dušan Hanák, the last two in particular are an excellent experience. Here, in Private Lives, he collaborates repeatedly with Magda Vášáryová after Simple Pleasures. Vášáryová's acting partner is Šulcová and their common fate is Helšus. The sisters are each different. The older one is just coming to terms with the fact that she will never have any more children, and the younger one is becoming a mother for the first time. The older one takes care of others, while the younger one is an actress. Their mother makes it clear which of them she considers weaker. Despite their professions and roles in society, both of them live very ordinary lives, with no luxury to fall back on... especially when their husband refuses to write pro-regime orders. A dense civilian film about a generation that could have had it all.

Starting with Poláček's Muži v offsidu, one of the nation's most beloved passions was decided on. Soccer Fans boldly follows up and proves that the topic of fandom is still relevant. Ján Lacko was able to handle the trio of Dibarbora, Mrvečka, and Garlatty, and for that alone he should get a medal. For the next generation, we’ll get a film about women and football.

A film image on how we organized President Kennedy's funeral. Unfortunately, Jackie falls into that wave of biopics that pick only a minimal fraction of a key figure's life and build on that. It conveys nothing more than the heightened emotion of a single moment, and that is a complete waste for the surface of a feature film.

A structured look into the private life of Slávek Šimek. Some of the accounts are very honest, and emotions were very tense at the time as it was filmed almost immediately after his death. However, the whole thing has to be taken with a grain of salt, like all these Ostrava documentaries.

A traditional look back at Jiří Grossmann, full of pathos and multiple confessions, but with a few extra bits. Yes, even today's teenage girls are falling in love with Grossmann and their slightly older classmates are writing their theses about him, but his own classmates also remember him... Simply put, less would definitely be more. At the end of his life, Šimek managed to name an entire theater and a Prague passage after Grossmann, and he published a complete library of collected writings in his name, so there would be plenty to talk about for hours, but instead, we watch Naďa Urbánková searching for the defunct Sluníčko club for long minutes. Pure futility.

Ján Roháč has not been given much space in documentaries. Shortly after his death, a pathetic program was created called V hlavní roli režisér. In hindsight, just this installment of a series about famous people on Czech TV. Which isn't much. This is mainly an insight into his private life, the main theme being his relationship with Hegerová and the story of his marriage to Zuzana Burianová. His career is being blunted by the way. Rejžek offers a certain interpretation, whilst others only dreamily recall.

A cute Weimar romantic comedy with Magda Schneider and Trude Berliner. The plot is beautifully straightforward, with the telephone operator environment interspersed with an excellent bar. Magda is the gentle and still a bit naive character, while Trude, on the other hand, represents the one who already knows things. And yet both of them are entitled to love. The highlight of the film is the hit "Ein Kuss mit Liebe."