Marek has no real friends except his guard dog and hangs out with skinheads. When his dispirited mother reappears in his life, Marek faces a horrible predicament. An authentic and hypnotic chronicle of a sluggish existence always on the verge of explosion.
A small village on the Slovak-Moravian border. Strangers are not welcome here. Locals seem to be suspicious even of each other. This is where eighteen-year-old Marek lives. His guard dog is his only true friend. Neglected by his relatives, he has found an illusory escape in the company of local skinheads. Nazi without a cause, he blindly follows them, and they train him exactly like he trains Killer, his dog. When his mother and young half-brother suddenly appear in his life, Marek faces a terrible dilemma. Either he will violently explode or he will find an inner capacity for the compassion he is so scared of. Continue reading
This film is an experiment. One dialogue, three filmmakers, three stories. Jerzy Skolimowski (Polish), Peter Solan (Slovak), and Zbynek Brynych (Czech) created their variations of the same conversation. Focusing on couples in their twenties, forties, and sixties, these three inventive sketches illustrate the emotional interaction between a man and a woman. Continue reading
“The Shop on Main Street” tells the story of Tony Brtko (Jozef Kroner), assigned as the Aryan supervisor of a small shop run by Rozalie Lautman (Ida Kaminska), a doddering old lady whose mind is mostly gone and lives in a fog, seemingly unaware that World War II is raging around her. Tony, no sympathizer to the Nazi cause, takes on the duties begrudgingly, but becomes increasingly more involved as he realizes what fate will gradually meet Rozalie. Things reach a shattering conclusion at the climax, as Tony is met by her frustrating oblivion to the danger she is in. Ida Kaminska has received most of the attention in regards to this film. Hollywood even recognized her with a Best Actress Academy Award nomination in 1966. But the standout for me was Jozef Kroner, playing a quiet, mostly lazy man who is forced against his will into the role of hero. Watching his performance is like watching a raw nerve. I had some slight problems with the director’s obsession on comparing Tony to Christ (he’s a carpenter, he repeatedly is shown having his feet bathed), but this is a minor complaint about a film that packs a tremendous emotional wallop. I defy anyone to forget the last painful, lingering image of the film (I won’t give it away), that simultaneously comments on the world that is and laments the world that could be. Continue reading
A special place in the development of feature films is reserved for Eduard Grečner, the creator of just one good film, Dragon Returns (Drak sa vracia, 1967), titled after the nickname of the lead character. After his initial work with Uher, Grečner made his mark as a proponent of the so-called “intellectual” film, the antithesis of the sociologically, or rather, socially critical film. Grečner’s great role model was Alan Resnais, a young French filmmaker who sought to introduce Slovakia to the idea of film as a labyrinth in which meanings are created not by stories, but by complex configurations of dialogue, shots, and various layers of time, thus differentiating film from both literature and theater.
In Dragon Returns―the story of a solitary hero who is needed by villagers living far in the mountains, but who is rejected by them at the same time because of his detachment―Grečner brought the tradition of lyricized prose to life through a whole series of formal aesthetic techniques. Continue reading
This colorful ”fairy”-tale is about the need of miracles in life and of letting the charms of nature, where every single particle is in constant motion, take over as if in an impressionist painting. It is a mosaic built of the stories of Mária and Pierre. Mária, a tavern-keeper tries again and again to lead Pišta, the father of her eight daughters, to the wedding altar. Pierre by his arrival disturbs the peace of the wine-growing village of Bábindol but at the same time he shows its inhabitants how to really enjoy life.
This film tied for the Grand Prize at the Mannheim Film Festival in 1969. Continue reading
The Sun in a Net depicts the lives of two youths in Bratislava who experience problems between themselves and at home. Bela is a blond, attractive teenager who comes from a dysfunctional family. Her mother is blind and her adulterous father is indifferent to his wife’s disability. She and her little brother Milo (Peter Lobotka) must act as the parents in this household, keeping it together and caring for their incapacitated mother. Fajolo, Bela’s boyfriend, is an indecisive young man. He has trouble expressing his feelings to Bela and seems self-absorbed. Fajolo’s family—his mother, father, and himself—have strained interactions with one another. His busy parents are heard but never seen onscreen, which is an effective way of portraying them as detached, perhaps even uncaring.