A bittersweet comedy starring the great Vlastimil Brodský as Fanda, an old man who refuses to grow up. Despite pleas from his exasperated wife who wants him to make serious decisions about the future, Fanda ignores the nagging and spends his days seeking amusement and adventure.

The Inguri River forms a natural border dividing Georgia from Abkhazia. One of the spring floods has created a little island in the middle of the river, as if made for the cultivation of corn. At least, this is the belief of an old peasant, whose sunburned face resembles the landscape he has trodden for dozens of years.

A man may or may not have betrayed a resistance fighter during World War II. He has supposedly been shot down by the Nazis and wanders into town. Mourning the death of an unseen comrade, he is taken in by the family of the dead rebel. He engages in a superfluous affair and witnesses the lesbian relationship between the man's sister and a female servant. When passions subside, the family has doubts about the reliability of the man's story.

The 2-part feature-length documentary "25 ze šedesátých aneb Československá nová vlna" ("25 from the Sixties, or Czechoslovak New Wave") presents a complex view of the phenomenon of Czech and Slovak New Wave in the cultural and social context of the 60's. 25 fundamental films commented on by their makers and film historians offer the viewer a dramatic insight into the golden era of Czechoslovak cinema. The documentary is a follow-up on the biographical TV series "Zlatá šedesátá" (Czech Television, 2009), based on the filmmakers' personal remembrances. As opposed to the series, the documentary presents the Czech and Slovak cinema of the 60's in the national, international and also inter-generational context. It describes the ways the New Wave crossed the existing artistic boundaries, how it variegated the world cinema and where it left an ineffaceable impression. It analyses the work of filmmakers in a state-funded cinema, under the pressure of ideological demands on one hand and commerce on the other. It presents the dilemma of a man - an artist - on the edge between contradictory social systems and incongruous aesthetic requirements. The existential drama of a man acting freely and at the same time mercilessly crushed by the wheels of the system. The 60's are, from this point of view, mostly an era of fortunate historical constellation, not only in - at that time - Czechoslovakia, but on a world-wide scale. An era of expectations and upswing, but also an era of exemplary human decisions and artistic pursuit. Those are some of the things "25 ze šedesátých aneb Československá nová vlna" wants to commemorate. Part 1 comments on: ■"Slnko v sieti" ("The Sun in a Net," 1962) by Štefan Uher ■"Konkurs" ("Audition," 1963) by Miloš Forman ■"Křik" ("The Cry," 1963) by Jaromil Jireš ■"Postava k podpírání" ("Joseph Kilian," 1963) by Pavel Juráček & Jan Schmidt ■"Každý den odvahu" ("Courage for Every Day," 1964) by Evald Schorm ■"Démanty noci" ("Diamonds of the Night," 1964) by Jan Němec ■"Intimní osvětlení" ("Intimate Lighting," 1966) by Ivan Passer ■"Ať žije republika" ("Long Live the Republic," 1965) by Karel Kachyňa ■"Obchod na korze" ("The Shop on Main Street," 1965) by Ján Kadár & Elmar Klos ■"Romance pro křídlovku" ("Romance for Bugle," 1966) by Otakar Vávra ■"Sedmikrásky" ("Daisies," 1966) by Věra Chytilová ■"Ostře sledované vlaky" ("Closely Watched Trains," 1966) by Jiří Menzel Part 2 comments on: ■"Kristove roky" ("The Prime of Life," 1967) by Juraj Jakubisko ■"Stud" ("Shame," 1967) by Ladislav Helge ■"Svatba jako řemen" ("A Hard and Fast Marriage," 1967) by Jiří Krejčík ■"Drak sa vracia" ("Dragon's Return," 1967) by Eduard Grečner ■"Marketa Lazarová" ("Marketa Lazarová," 1967) by František Vláčil ■"Spřízněni volbou" ("Elective Affinities," 1968) by Karel Vachek ■"Spalovač mrtvol" ("The Cremator," 1968) by Juraj Herz ■"Zabitá neděle" ("Squandered Sunday," 1969) by Drahomíra Vihanová ■"Pasťák" ("The Decoy," 1968) by Hynek Bočan ■"Případ pro začínajícího kata" ("Case for a Rookie Hangman," 1969) by Pavel Juráček ■"322" ("322," 1969) by Dušan Hanák ■"Slávnosť v botanickej záhrade" ("Celebration in the Botanical Garden," 1969) by Elo Havetta ■"Všichni dobří rodáci" ("All My Good Countrymen," 1968) by Vojtěch Jasný

十六七岁的时候，她特别喜欢一个隐喻；是她自己想出来的、听来的，还是从哪里读到的？没有关系。她想成为一种玫瑰香，一种四处扩散的香味，四处去征服。她希望就这样穿透所有男人，并通过男人，去拥抱整个世界。玫瑰四处扩散的香味：那是对艳遇的隐喻。这个隐喻在她即将成人之际开放，就像是对温柔地与男人混杂相处的浪漫许诺，对穿越所有男人之旅的邀请。可是，她天生又并非是一个常换情人的女人，这个朦胧的、抒情的梦，很快就在她宁静而幸福的婚姻中沉睡过去。

《不能承受的生命之轻》是米兰·昆德拉最负盛名的作品。小说描写了托马斯与特丽莎、萨丽娜之间的感情生活。但它不是一个男人和两个女人的三角性爱故事，它是一部哲理小说，小说从“永恒轮回”的讨论开始，把读者带入了对一系列问题的思考中，比如轻与重、灵与肉。 《不能承受的生命之轻》是一部意象繁复的书，其中装载了多种涵义：被政治化了的社会内涵的揭示、人性考察、个人命运在特定历史与政治语境下的呈现，以及对两性关系本质上的探索等。昆德拉将这些元素糅合在一起，写成一部非同凡响的小说——其中既有隐喻式的哲学思考，也有人的悲欢离合的生命历程的展现。

歌德谈到不朽当然和灵魂的不朽毫无关系。这是另外一种世俗的不朽，是指死后有留在人记忆中的那些人的不朽。任何人都能得到这种伟大程度不等，、时间长短不一的不朽，每个人从青少年时代起就可以有这个向往。我在童年时代每星期日都到一个摩拉维亚村子去闲逛；据说这个村的村长在他家的客厅里放着一只没有盖盖子的棺材，在他对自己感到特别满意的适当时刻，他便躺进这口棺材，想象着自己的葬礼。他一生中最美好的时刻莫过于躺在棺材里梦想；就这样，他居住在他的不朽中。

根据赫拉巴尔同名小说改编。在废纸回收站工作三十五年的打包工汉嘉，他沉浸于阅读在废品中找到的书籍……

1980 film by Jiří Menzel

The breakthrough moments of our modern history since the founding of the Czechoslovak Republic in 1918 culminated in the collapse of the CSFR in 1992 from the point of view of their main actors. Decisions whose consequences dramatically reflected in people's lives and influenced the direction of our nation for a long time.

《玩笑》的背景是捷克六十年代政治风云到来的前夕，但《玩笑》中的故事情节本身却追溯到五十年代；小说主要是围绕主人公卢德维克的复仇而展开：青年知识分子路德维克，因为与女友开了个玩笑，被朋友泽马内克陷害，送入苦役营。归来后他为了报复泽马内克，设计勾引其妻海伦娜。计划成功后，他才发现：泽马内克早就想抛弃妻子，他的报复成了一个毫无作用的“玩笑”……

《告别圆舞曲》一书中，作者在思考这样一个问题：人配在地球上生存吗？难道不应当“把地球从人类的魔爪下解救出来”吗？将格外重的问题和格外轻的形式结合在一起，这是作者一直以来的野心。这不是一种单纯的艺术野心。形式之轻和主题之重的结合揭示了我们人间这种种戏剧毫无意义，到了可怕的地步。

《好笑的爱》内容简介：在三十岁前，我写过好几类东西：主要是音乐，但也有诗歌，甚至有一部剧本。我在多个不同的领域工作·——寻找我的声音，我的风格，寻找我自己。随着我的《好笑的爱》的第一个故事（写于一九五九年），我确信“找到了自我”。我成为写散文的人，写小说的人，而不是其他的任何什么人。 那时候，我深深渴望的惟一东西就是清醒的、觉悟的丑光。终于，我在小说艺术中寻找到了它。所以，对我来说，成为小说家不仅仅是在实践某一种“文学体裁”：这也是一种态度，一种睿智，一种立场。

本书是作者最重要的代表作，酝酿二十年，三易其稿。正如作者自己所说“我为它而活着，并为写它推迟了我的死亡”。小说诗意地叙述了一个在废纸回收站工作三十五年的打包工汉嘉，他把珍贵的图书从废纸堆中捡出来，藏在家里，抱在胸口。他狂饮啤酒，“嘬糖果似的嘬着”那些“美丽的词句”。这是一个忧伤的故事，爱情的忧伤，文化的忧伤。汉嘉最终将自己打进了废纸包，他乘着那些书籍飞升天堂。

1991 Czech comedy film directed by Jan Svěrák

After a fictitious marriage with a Russian emigrant, Cellisten Louka, a Czech man, must suddenly take responsibility for her son. However, it’s not long before the communication barrier is broken between the two new family members.

1990 film by Jiří Menzel