Endless train timetables. Russian border patrol. Patches of forest that swallow you up. A thick fog that brings it memories of a time long gone. Anything but an ordinary film, Tomáš Luňák’s interpretation of Jaromir99’s graphic novel trilogy about the train dispatcher Alois Nebel is a full-length, animated drama, playing at a pivotal moment…
| 07/03/2017
In ‘Neon’, Eric Bednarski’s award-winning 2014 documentary, the history of Warsaw is traced through its neon lights. It’s a retelling of Polish history, mixing documentary features from several decades, focusing in on small stories alongside the great events of the recent past. We caught up with the Director here. CEEL: How did you come to choose neon…
| 25/02/2017
In this award-winning documentary, director Eric Bednarski traces the history of Poland’s capital through the city’s neon lights – merging design, politics and history in an ambitiously innovative project. It’s a retelling of Polish history, so often the subject of grand films that exploit the emotional weight of its traumatic turns from Nazism to Stalinism.…
| 20/02/2017
In a way, communism has always been playing on the masses. There are endless things hidden within the People – power, union and also a great deal of herd mentality. Matei Visniec’s What Shall We Do With the Cello? – performed by Atelier Theatre Studio as part of the Vault Festival 2017 – delicately opens…
| 13/02/2017
Ognisko Polskie, the Polish Hearth Club, is an exquisite venue: glistening chandeliers please the eye, red velvet lines the elegant staircases; this quiet haven in South Kensington is full of Old World charm. Last Saturday night, a traditional version of Chekhov’s play The Seagull was produced here. Set on a lake estate in Imperial Russia,…
| 12/02/2017
Tracy Letts’ adaptation of Chekhov’s 1900 play – directed by Phil Wilmott – gives an English, deadpan intonation to Russian humor. The expansive, often ironic comedy characteristic of Chekhov’s plays persists even though Letts has cut and altered considerable portions of the original text. The layout of the Union Theatre in Southwark, which has the…
| 27/01/2017
Just before the Barbican screening of his award-winning 2016 film We Are Never Alone, director Petr Václav took some time to frame his work in a conversation that started out with questions about Czech identity, and ended on post-truth masculinity and why We Are Never Alone is, essentially, a feminist film: women have a future,…
| 12/12/2016
Screened as part of London’s Made in Prague Film Festival, Petr Václav’s We Are Never Alone (2016) has a rather dramatic, soap-opera plot: a woman, whose husband is a psychotic, abusive hypochondriac, falls in love with a pimp from the local brothel, who in turn is in love with one of the prostitutes, who is herself in…
| 26/11/2016
There is a joke that several nationalities in CE Europe tell about themselves, and into which almost any national group can be inserted: ‘How many Czechs does it take to change a light-bulb? Four: one to hold the bulb up to the fitting and the others to haul him back from installing it.’ This joke’s…
| 25/11/2016
Described as ‘a fusion between black comedy and drama’, Olmo Omerzu’s Family Film (2015) slowly unravels the superficial layers of a near-perfect wealthy family living in Prague, which falls apart as the parents go sailing in Asia with dog Otto, leaving behind their two children, grown-up Anna and her 15-year-old brother Erik. Moving from everyday…
| 22/11/2016