Anton Ďuriník

Maria, an inn keeper, is always a bride but never a wife. She meets newcomer Pierre, who disturbs the peace of the small village and teaches the locals how to enjoy life. E. Havetta's debut was inspired by naïve art, French impressionism, silent slap-stick and Western Slovakian folk traditions.

In Slovakia, they also created a pair of investigators who have appeared in several films. Volanie démonov is the third of them. The police officers, one Maigret-like, thoughtful, the other humorously hasty, this time solve a fire in a furniture factory and the deaths of two employees - one burned himself, the other fell into a dry well. The investigation of the complicated case takes a long time, but in the end it turns out that revenge can be extraordinarily strong and persistent.

Two repatriated soldiers search for stability and love when they return home after the First World War.

Even a strict and not very popular teacher can achieve extraordinary popularity with his pupils. When their favourite teacher breaks his leg just before a bicycle trip, he is replaced by his strict colleague. Although his involuntary charges are not enthusiastic at first, they eventually become convinced that it is not good to immediately reject a person just because one does not get along with him at first...

The film is based on the memoirs of partisan commander Peter Kružliak. Lieutenant Peter Kubiš is ordered to move with his unit to the mountains after the fall of Banská Bystrica, where he is to receive further orders. No one is waiting, on the contrary, civilian refugees from Banská Bystrica are also entrusted to his protection. In addition, the headquarters sends him to "take care" of captured German soldiers. A serious dispute arises over whether to liquidate the prisoners or not. The final decision must be made and enforced by Lieutenant Kubiš - he refuses to carry out the sentence without a decision from a field court. Kubiš sends the captured Germans - hostages to Banská Bystrica to guarantee the safe return of the civilian population to the city.

Slovak partisans, bravely fighting against Nazi superiority, would never have succeeded to such an extent if they had not been supported by the villagers. Despite the threat of repression, it is the villagers who care for the wounded, hide them, and behave conscientiously. Although the film was made in the late 1960s, it fully adopts the patterns of partisan stories, perhaps the only thing it can be credited with is a more developed sense of authenticity in the story, characters, and setting.