Director Jaroslav Papoušek’s earlier tragicomedy Nejkrásnější věk (The Most Beautiful Age, 1968), set in a sculpture studio, was very much in the mould of a free-thinking, free-speaking Czechoslovak New Wave film. A year later, he embarked upon the folk comedy Ecce homo Homolka (1969). Following the departure into exile of directors Miloš Forman and director-screenwriter Ivan Passer, Papoušek was the last member of this strongly bonded trio to remain behind. During the 1960s, the three men brought to the screen a number of highly successful film projects.Read More »