Dedicated home care nurse Vlasta lives for her husband Lada, her daughter, and her patients. But then one day things change and Vlasta comes to realize that she might need some care too.

Domaci.pece.2015.720p.HDTV.x264-DON.mkv

General
Container:	Matroska
Runtime:	1h 27mn
Size:	3.03 GiB
DXVA:	Compatible
Minimum settings:	Met
Video
Codec:	x264
Resolution:	1280x718
Aspect ratio:	16:9
Frame rate:	25.000 fps
Bit rate:	4 163 kb/s
Audio
#1:	Czech 5.1ch AC-3 @ 448 kb/s
#2:	Czech 2.0ch AC-3 @ 224 kb/s (Komentář režiséra Slávka Horáka a kameramana Jana Šťastného)

https://nitro.download/view/FA172D08BC49D21/Domaci.pece.2015.720p.HDTV.x264-DON.mkv

Language(s):Czech, Slovak
Subtitles:English

The post Slávek Horák – Domácí péce AKA Home Care (2015) first appeared on Cinema of the World.

Postmodernistic version of the grotesque and blasphemic novel The Sufferings of Prince Sternenhoch by czech anarchistic and subjectiv-idealistic philosopher Ladislav Klima (1878-1928) transposed into reality of the Prague 1989. The visual look of the film is credited by painter Michael Rittstein, a representative of the Czech grotesque. The film instead of the Prince’s headquarters takes place on the television transmitter, the main role is played by Czech punk-rock star Vilem Cok. The film is full of blasphemy, allusions to pornography and aesthetics of decay and kitsch. For Jan Nemec meant the project return to the Czech film, but also in his time shocking failure – Czech society was not ready for such hyperbole.

832MB | 1h 26m | 720X576 | avi

https://nitro.download/view/41CBA64C70804F5/V-zaru-kralovske-lasky-CS-komedie-1990-TVrip.avi

Language:Czech
Subtitles:None

The post Jan Nemec – V žáru královské lásky AKA In the Light of the King’s Love (1990) first appeared on Cinema of the World.

As with Chytilová’s other work, the story of a young train driver was the result of compromises the director had won in defiance of Barrandov’s dramaturges. The studio had offered her the project as there was little interest in the material in view of the tough winter exterior shoot. The director rewrote Josef Šilhavý’s screenplay, turning a ‘consolidation’ story of university students finding a new meaning of life among railway workers into a bitterly amusing parable about contemporary Czechoslovakia. This meant the film’s production faced dangers not only from the unpredictable elements but also censorship and studio pressure. It was released without an advertising campaign and was eventually banned in Prague despite drawing large audiences. Instead of a snowy idyll Chytilová, whose father owned a train station pub, produced a work replete with ambiguous anti-regime rhetoric. Not only the hero Honza Dostál but several other characters found themselves in ‘calamitous’ life situations that are revealed as a societal problems in the final scene in a snow-covered train. Cinematographer Ivan Šlapeta and editor Jiří Brožek made a huge contribution to the film’s edgy, provocatively unpolished form.

2.02GB | 1h 36mn | 1280×720 | mkv

https://nitro.download/view/A3F9CBD6724D5BF/Kalamita.1982.720p.WEB.AAC.x264-LYCANTROPE.mkv

Language:Czech
Subtitles:English

The post Vera Chytilová – Kalamita AKA Calamity (1982) first appeared on Cinema of the World.

Boleslav Polivika stars as Slach the Jester in this metaphorical comedy fantasy. Slach is the caretaker of an abandoned Bohemian castle that is rented out to wealthy visitors during deer-hunting season. The German Konig (Jiri Kodet) and his French fiance Regina (Chantal Poulainova) arrive with flair in a white Mercedes. Slach imagines himself as a medieval court jester while the local villagers regard him as a simple buffoon. He imagines that Konig is the King and Regina the Queen, and Slach is seductively drawn to the Queen and does her bidding until she orders a beheading. Scenes shift between the present and the medieval court of the increasingly sadistic Queen. The gifted actor and playwright Polivika has parlayed his theatrical role into a successful film to make this one of the most popular of Czech features in 1988. ~ Dan Pavlides, All Movie Guide

1.53GB | 1h 52mn | 624×464 | avi

https://nitro.download/view/D45EF28C99BD05C/Sasek.a.kralovna.1987.iNT.DVDRip.XviD.CD1-SCHWEiK.avi
https://nitro.download/view/1BE4E91C65A0B56/Sasek.a.kralovna.1987.iNT.DVDRip.XviD.CD2-SCHWEiK.avi
https://nitro.download/view/1A4BCE72CC2A50A/Sasek.a.kralovna_Extras.rar

Language:Czech
Subtitles:None

The post Vera Chytilová – Sasek a kralovna aka The Jester and the Queen (1988)  first appeared on Cinema of the World.

A hillbilly inherits millions and goes to the city, leaving his village to live a rich man’s life in post communist Czech Republic.

3.46GB | 1h 58m | 1022×576 | mkv

https://nitro.download/view/213BC0F016A1015/Dedictvi.aneb.Kurvahosigutntag.AKA.The.Inheritance.or.Fuckoffguysgoodday.1992.576p.BluRay.AAC.x264.mkv

Language:Czech,German
Subtitles:English,Czech

The post Vera Chytilová – Dedictvi aneb Kurvahosigutntag AKA The Inheritance or Fuckoffguysgoodday (1992) first appeared on Cinema of the World.

Quote:
In Hezké chvilky bez záruky (English title: Pleasant Moments), acclaimed director Věra Chytilová manages to make profound statements on the nature of humanity with such a striking concealment that most viewers won’t even notice them. It’s a continuation of her post-New Wave career; the surrealist masterpiece Daisies is often pointed to as her greatest achievement, but she continued to make equally important films under communist rule – they just had to be so subversive the censors wouldn’t even notice. One of my favorites is 1977’s Panelstory, the definitive story of life in a panelak (apartment complex) with biting political commentary so hidden that it makes it all the more worthwhile to discover. As a senatorial candidate from the political party Strana Rovnost Šancí, Chytilová no longer remains in obscurity. Unfortunately for some, her post-New Wave films still do. But for those of us willing to give them a chance, they’re still as relevant and sublime as her efforts from forty years ago.

Bear with me: I recall, many moons ago, watching The Incredible Melting Man, a mostly forgettable sci-fi feature. One scene, however, has stuck with me throughout the years: our hero, the brilliant scientist, is at home with his wife, expecting some guests for dinner. It suddenly dawns upon him – his wife has forgotten the crackers, a necessary ingredient for the hors d’oeuvres. He erupts into a blind rage – how could this have happened? She knew that we needed the crackers! Meanwhile, the Melting Man is terrorizing the countryside, killing people (I think) while slowly wasting away into a puddle of goo. But I mostly recall the crackers; I laughed at the horrible acting and surrealism of the vignette, but in truth, there was more drama and tension in that one scene than the rest of the movie.

In Pleasant Moments, Chytilová focuses on the crackers. As the film opens, our heroine, the psychologist Hana (Jana Janěková) shouts obscenities into her dashboard as she deals with heavy traffic, already late for work. This is possibly the most dramatic scene in the film, reaching its zenith with Hana abruptly changing lanes, and culminating in a minor fender bender where…the other driver kicks her car a couple times and drives away. In most films, scenes like this are used as character development; here, these scenes comprise the entire film as Chytilová eschews characters, and development, and any kind of traditional story. It’s quite brilliant; look at all of the problems in the world, and yet, what do we really care about?

The bulk of the film is a series of vignettes featuring Hana interacting with a multitude of patients, all of which have their own personal problems: a woman fears she can see the future, a man can’t stop rubbing up against strangers, etc. A woman is physically abused by her husband, but can’t bring herself to leave him; enough story for an entire film, but here, dramatically flat and quickly forgotten: Hana can’t help the patient unless she is willing to help herself, nor can the film itself intervene. No, here more drama unfolds when Hana makes steak for dinner – when she knows her husband (Igor Bareš) will not be there. That says more about their relationship than a slap after the husband suggests a threesome with another woman. The slap is expected; the steak must be interpreted. The husband eventually leaves – blink and you’ll miss it; by the time he leaves it’s an afterthought. It’s the little things leading up to it that matter.

Another patient, Eva (Jana Krausová) compliments Hana after she puts on some makeup for the first time in the film. A passing comment, nothing more, but perhaps more important to Hana than a murder or attempted suicide – for the rest of the movie, she’s wearing makeup in almost every scene. Eva, a gallery owner, has her own story in which she falls in love with her son’s friend. Tension emerges between Eva and her son (David Kraus, real-life son of Jana Krausová), but we side with Hana – if they’re happy together, what’s the problem? The scenes between Eva and her son seem forced – dramatically flat – until we realize that’s the point. The son seems more upset that his mother and friend are cooking together than sleeping together. The real tension is in the small details; we just hide them in the big picture. The final scene is perfect: a patient recalls to Hana a near-rape in a rowboat on the Vltava river, under the National Theater, where she seems more concerned that the president may have bore witness. Hana laughs as she now realizes how ridiculous all of it is, what we really care about. The laugh turns to a cry in a final freeze-frame.

The film is shot in an almost gonzo-realist fashion by cinematographer Martin Štrba; handheld all the way, with constant repositioning and use of the zoom lens. Offbeat music from David Kraus is sparsely, and effectively, used throughout.

The famous example from Buñuel’s Un Chien Andalou: shot #1 shows us a man looking out a window; shot #2 shows a man riding a bicycle on the street. We are conditioned to accept that the first man is looking at the second; surrealism calls this into question. That statement on film editing was in 1929. In 2006, we have almost daily terrorist threats, global warming, cancer, bird flu, war, and a film about minor irritations from a master director and political candidate. Chytilová has become so subversive that a) most viewers will now regard and dismiss her recent work as a more traditional form of storytelling, and b) some viewers (myself) will read far, far too much into her films, taking something out of them that, perhaps, was never put into them. Regardless, at least for some of us, she continues to do her job to perfection: to make us think. Her latest film is just as valuable as any of them.

There are Melting Men out there, yes. But in truth, all we really care about are the crackers.

1.36GB | 1h 53m | 640×352 | avi

https://nitro.download/view/02B370B673804CC/CD-1.avi
https://nitro.download/view/09128449F196E6D/CD-2.avi
https://nitro.download/view/52D22D07FDB9D63/hechbz-hunts.cd1.srt
https://nitro.download/view/48A4B573AD63D47/hechbz-hunts.cd2.srt

Language:Czech
Subtitles:English

The post Vera Chytilová – Hezké chvilky bez záruky AKA Pleasant Moments (2006) first appeared on Cinema of the World.

Quote:
In World War II Nazi occupied Czechoslovakia, a childless couple, Josef and Marie Cizek, can only watch while the Jewish family of their employers, the Wieners, are first removed from their own home to a spare room in their house by the Nazis, then removed to the far off facility of Thierenstadt. Years later, young David Wiener, the sole surviving member of that family has managed to escape and make it to the Cizeks. Although fully aware of the extreme danger of harbouring a Jew in the Third Reich, the Cizek’s can not permit themselves to leave David to certain death and agree to hide him. However, this decision leads to terrible danger of discovery by the Nazis and especially their friend and Nazi collaborator, Horst Prohazka, who is attracted to Marie. With desperate cleverness and luck, the Cizeks struggle to keep the secret, even when Horst begins to suspect. In doing so, they find themselves making unorthodox choices and learning about the true nature of the people around them.

3.67GB | 2h 02mn | 1024×576 | mkv

https://nitro.download/view/79170866F14CB7D/Musime.si.pomahat.AKA.Divided.We.Fall.2000.576p.BluRay.x264.mkv

Language(s):Czech
Subtitles:English, Romanian, Czech, German, Spanish

The post Jan Hrebejk – Musíme si pomáhat AKA Divided We Fall (2000) first appeared on Cinema of the World.