NinadeL

Bridget and I really don't get along. I understand the charm of Helen Fielding's novel, and I understand that the translation didn't quite work... However, I also understand that the combination of Colin Firth and Hugh Grant is utterly irresistible for multiple generations, and I do love several of Renée Zellweger's roles. But for me, the experience is simply the journey to success with Roxie Hart, not this British would-be universal romcom.

The long line of film fairy tales based on Božena Němcová’s works dates back to 1929. As the years passed, tastes, styles, and film narratives changed. Alice Nellis accepted the latest challenge and has created something new. Starring the sassy Martha Issová, the rather gloomy subject has given way to modern gags, and in other roles, we can also meet the uncharacteristically guided Remundová or Bydžovská. Among the princes, the pleasant Lukáš Příkazký and Václav Neužil tend to please. I wasn't sure at first, but when I compare it to the "better" ones by Svěrák or Troška, Nellis clearly wins.

It’s actually not that strange to realize that people with such natures also live among us. However, the problem with this film is as old as Czech cinema itself, because Hřebejk's team was translating another Viewegh book and somehow didn't add any dramatic or dramaturgical framework. He built all of Shameless on Macháček and his walking through absurd situations without any rhyme or reason. The audience kitsch was fulfilled by a trailer full of celebrities, including Karel Gott, and Eva (now Vica) Kerekes’ bust. Babčáková and Liška sealed their positions as obligatory actors and Divíšková and Landovský once again made it loudly known that they are still among us.

This is one of the new creations of promising young people. Just a little while ago they were making their student films and now they feel they have lived enough to pass on their inner world to us. Yeah. But it will pass.

Jaromil Jireš is one of those darlings that it would be great even if he were to record only a sentence or a simple sample for a film. The Cry is a charming film. After all, the theme of the young family is humorously portrayed in Kissing-Time Ninety, for example, so it's nice that here we have a gentle, empathetic solution for a change. And of course with the subtle satire in the side storyline about how today's generation is dancing the twist while the older generation was just broodingly reading French avant-garde.

Since I'm a sucker for the intersection of the TV and film mediums, I'm having fun with the intersection of Sunday League. That's all. But that’s also enough.

Miloš Zábranský is one of the individuals of the 1980s whose star power went down before it went up. However, his loose trilogy, full of parables and religious mysticism set in the greyness of everyday life, has much to offer. At least as evidence of how far contemporary frustration and futility have reached. Of course, the initial situation is ordinary, but therein lies its strength.

Considering the positives that Ševčík's Restart boasted, it is only natural that Normal is also built primarily on its formal aspects. The script is not dazzling, and the ambition to tell a realistic period crime story has given way to a neo-noir stylization. Of course, it's great that Peter Kürten's story inspired this group of filmmakers. Ševčík and Riestra profess a video clip aesthetic, Muchow doesn't tackle jazz, and the makeup artists don't bother to do their makeup and hair in a way that makes the whole thing look like Weimar. It is better to give up on a good period piece when it doesn't suit you and make it entirely your own than to trap a similar piece in a static theatrical recording or a TV production and condemn it to a small number of reruns.

A strong women's film. Pawlowská tastefully wrote out life's caroms, pointing out that you don't really need these Kratina aspects, as well as that it's best not to let your parents get too close to you - because then everything will be quite all right. The sweet Hartl gives hope at the end and Iva Hüttner thankfully contributed only her art.

In spite of the negative response, My Naked Diary can be described as an enjoyable pre-graduation comedy that should be updated every decade, because, for example, the story of Girlie from 2002 was considered too passé by today's kids. The stories about the sympathetically exuberant Johana fit perfectly. This generation's issues are a little different than the previous ones, the sets are more multimedia every year, and the Dubai story takes on a new dimension overall. The flashbacks from the adolescent psychiatric hospital are surprisingly done sensitively and it is particularly a pleasure to watch Veronika Kubařová's pleasantly girlish performance. Kubařová is a mature actress familiar with the Czech and international repertoire from the theater (especially from Prague's Municipal theaters), used to acting on the entire stage herself, and it’s really too bad that she does not play similarly large roles in films more often.