Helena Anýžová

Valerie, a Czechoslovakian teenager living with her grandmother, is blossoming into womanhood, but that transformation proves secondary to the effects she experiences when she puts on a pair of magic earrings. Now seeing the world around her in a different light, Valerie must endure her sexual awakening while attempting to discern reality from fantasy as she encounters lecherous priest Gracian, a vampire-like stranger and otherworldly carnival folk.

In 1930s Prague, a Czech cremator who firmly believes cremation relieves one from earthly suffering is drawn inexorably to Nazism.

Délka polibku devadesát

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.

Two teenage girls embark on a series of destructive pranks in which they consume and destroy the world around them.