Otto Hradecký

February 1948. The struggle of decisive social forces for the heart of Europe.

Owners of all kinds of animals and birds, from puppies to sick calves and grasshoppers, come to the veterinary "hospital". They meet with the professionalism and helpfulness of the doctors and especially with the attending nurse Miluska, who finds a kind caress, a smile and help for every creature. She even gets the doctor to visit a sick grasshopper, which its rather stubborn owner left without treatment. There's a bit of loving reverie on Milushka's part, too, because she liked the young man who came with the mare. But it remained just a nice, if a bit silly dream, because the young man is married. But the daily reality overcomes that bit of sadness and Milushka remains faithful to her patients...

The hard-working head of the farm machinery maintenance crew, Lawrence, is always in control. He knows how to keep everyone around him busy, and he loves to meddle in the affairs of other members of his large family. Above all, he has high hopes for his promising daughter Štěpánka. He wants her to become a college student. But everything gets complicated when the girl falls in love with Tomas from the neighbouring village. One of Vavřince's latest excesses is to prepare a wedding that he doesn't know is no longer necessary.

Together with a group of temporary workers, a group of experienced labourers is building a land reclamation system to turn the South Bohemian marshes into a "Seventh Continent" of fertile soil.

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.

A comedy based on the novel of Jaroslav Hašek's The Good Soldier Svejk happens during the World War I. I Dutifully Report: In the introduction to the second part of the film adaptation of Hašek's novel The Good Soldier Švějk presents his main character Josef Švejk. With the distinctive traditional Czech cartoon character of a soldier Svejk, this time you meet on the way to the front and eventually right in the firing line. You can look at his famous train events, and also probably the most famous episode of the novel, Švejk's Budějovice anabasis. Don't miss the scene with the secretly bought cognac, the episode with Svejk as a fake Russian prisoner of war, including the court scene, and the scene in which lieutenant Dub is caught in a brothel. Despite the criticism, Steklý's adaptation is undoubtedly the most famous and memorable at present.

Oldřich Daňek's play tells a love story from our ancient times about the beautiful convent inmate Jitka and the brave Břetislav, the son of the Bohemian prince Oldřich and the simple laundress Božena. This witty apocryphal uses semi-historical, semi-legendary material in a modern way.

Miroslav Hornicek is a deluded young man who is convinced he is Faust incarnate. This turn of mind leads to some ludicrous situations, such as when he believes a woman is really a cat. Before he can be rounded up and interned wherever they keep people with this type of a problem, love enters his life and the clouds that obscured his vision begin to dissipate.

Good-natured and garrulous, Schweik becomes the Austrian army's most loyal Czech soldier when he is called up on the outbreak of World War I -- although his bumbling attempts to get to the front serve only to prevent him from reaching it. Playing cards and getting drunk, he uses all his cunning and genial subterfuge to deal with the police, clergy, and officers who chivy him toward battle.

A smaller town has its own newspaper. The editor, Stanek, works there and is concerned with status and a comfortable life. His teenage son has his own problems and doesn't understand his father's attitude. Conventional morality without real critical passion.