Zuzana Schnöblingová

It is the 1930s. Physician Bartos devotedly attends poor patients in the city suburbs, at the same time researching the possibilities of regeneration of human tissues after transplantation. His former colleague Rosen, now working as an assistant at the private clinic of surgeon Kirchenbruch, considers the research a mere utopia. The disappointed Bartos, trying to verify his theories, therefore accepts the outrageous proposal of Marion, owner of a brothel - to surgically replace the face of her lover, the wanted thief Cutter, with the face of murdered Father Hopsasa. Bartos is well paid but his successful operation remains a secret.

Červnové dny

Kdy brečí muži

Miss Nováková reports to Major Tuma (Karel Höger) from the police about the disappearance of her roommate, the model Zuzana. Shortly afterwards, a film director named Konrád (Otomar Krejca) asks Tuma to cooperate on a new cinéma-vérité film describing the story of Zuzana's disappearance.

This three-part ballad, which often uses music to stand in for dialogue, remains the most perfect embodiment of Nemec’s vision of a film world independent of reality. Mounting a defense of timid, inhibited, clumsy, and unsuccessful individuals, the three protagonists are a complete antithesis of the industrious heroes of socialist aesthetics. Martyrs of Love cemented Nemec’s reputation as the kind of unrestrained nonconformist the Communist establishment considered the most dangerous to their ideology.

Slečny přijdou později

Eight-year old Dominique has a name-day. Her parents have a gift for her, but only give it to her in the evening, when everybody has come home from work. Then she darts out, where her girlfriends are already waiting for her.