Una and an alien robot have 24 hours to find her Grandpa who was kidnapped by aliens. The extraordinary adventure leads to friendship, the rational robotic logic is replaced by emotions and Una's selfless love saves her partly alien family.
This darkly grotesque drama unfolds on multiple paths. The tangible one, now cruel, now crazy, along which the nomadic actor "Dad Mour", his wife "Mum" and two sons try to return home, but also the imaginary one, even more, tortuous and dusty, on which the often impressive mental youth (or immaturity, a scrooge might say) is welded with life circumstances forcing the protagonist to wise up. An anxious and exuberant cinematic faerie about love, the fear of loneliness and the gaze of sons fixed on their fathers.
After spending months as a prisoner in Donbass, Ukrainian aerial reconnaissance expert Lilia returns home to her family. But the trauma of captivity continues to torment her and surface in dreamlike ways. Something growing deep within Lilia will not allow her to forget, yet she refuses to identify as a victim and will fight to liberate herself.
The film tells the life story of its director, Jan Nemec, one of the most known and important filmmakers of Czech New Wave.
Janette is terminally ill and wants to die in a dignified way but this is not permitted under British law. She refuses to wait for death in unbearable pain so she opts for a physician-assisted suicide in Switzerland. Before departing on the final journey she has to explain her intention to the family members and close friends.
Our hero is 25-year-old Štěpán – a nice enough guy but a bit of a waster who doesn’t have a clue what to do with himself. At the call centre where he works, he is jolted out of his lethargy when he takes a call from the mysterious and seemingly level-headed Marie. This playful flick revolves around young protagonists full of insecurities who are struggling to break out of the crushing stereotypical mould. And although Štěpán might not know exactly which path to take in life, the mere decision to put one foot in front of the other indicates a certain degree of progress. In its chosen stylisation the film opts for bizarre condensation and, in places, ventures into absurd poetics; even so, it reveals great understanding for its characters’ faltering moves.
When nostalgia makes her rethink the sale of her family cottage, a woman cajoles her husband and loved ones into one last getaway.
Mína with her Toy friend are having fun in a sandpit. Suddenly, mud pies are stamped out and the Toy is captured by cycling Totemites! Only the youngest one, Tricycler, feels sorry for the Toy. To save the Toy tied up to a high Totem seems impossible. Our heroes need to overcome risky challenges including digging tunnel under the playground and bike chasing. Finally, Tricycler gives Mína a hand and a new friendship is born.
Olda, a seventeen-year-old teenager, awaits his trial in a detention center for juveniles. There, he tries to fill the void of prison’s monotony and reminisces about the brutal assault he committed on a homeless man, that resulted in his death. However, his memory is just as imperfect and incomplete as the effort to understand his unreasonable violence.
Jara is one of thousands of Czechs who, after being released from institutional care, are suddenly forced to stand on their own two feet. He works hard, trying to give his little daughter and wife the life he could never have. After debt collector seizes the money meant to pay back his loan shark, Jara sets off on a mission to save his family.
