Ondřej Mikšíček

A Polish criminalist specialises in various historical mysteries. He is aided by a miraculous car, with the help of which he also reaches Prague, where he unravels ancient cabalistic mysteries.

Princess Julia doesn't want to marry an old prince Hubert so she runs away from home. She meets two old magicians and join the circus, where she meets lovely Franta Kuldan and evil devil performer.

In the 1980s, the building themes were transformed into bipolar moral dilemmas involving overly ambitious individuals who wanted to excel at any cost. The hero is the head of a demolition crew that demolishes large buildings, initially a sympathetic young man who, in the pursuit of career and accolades, begins to transgress the boundaries of what was then called socialist morality and legality. He gradually finds himself at odds with the principles of ordinary but honest people. The narrative's bland, proclamatory film is closely connected to its time of creation, and there are hardly any more timeless insights to be found.

Technical school student Pavel Brychta, arrives at a youth correctional facility located within a chateau in Konečno. He is an atypical, but not hopeless case for the institution. Pavel comes from a well-off family and his antisocial behaviour on the verge of criminality was some kind of response to his difficult relationship with his authoritative father. However, it takes quite some effort for Pavel to find his place in this environment of bullying, and also diverse methods from the tutors

Children's film about a young boy who moves from the city to the country. At first he finds it difficult to make friends, until others discovers his gift with electronics.

In a South Moravian wine-growing village in the early 1970s lives an old man who cannot accept the attitude of the younger generation towards nature and agriculture. Director Hynek Bočan made a number of films based on Jan Kostrhun's drafts, mostly set in the South Moravian environment (including The Face Behind the Glass), but the portraits were very flat. Relationships between people were often depicted in predictable schemes. The hero this time is an old villager who is struggling to cope with the changes in his attitude to nature and to agricultural work in general. He sees his only hope in his grandson, to whom he tries to pass on his life experience.