Jiří Sedláček

A Czech-French existential tragicomedy. Its (anti)hero is a young man named Andrej (played by Filip Topol, leader of the Czech underground band Psí vojáci). The story turns on his fateful love for the powerfully attractive though superficial Kristyna (Markéta Hrubesová).

A young man has led his whole life with his grandfather. When he was in school, he was the only one who was refused to join the Youth Brigade, since his father was sentenced to death for spying. When it is time for him to do the compulsory military service, he has to do it in a platoon for "unreliable" persons.

Helenka, a textile industrial student, invents an ideal man who is the envy of all her friends. The dreamy and delusional Helenka resists her complexes with an imaginary lover, her more realistic friend Zuzka would also prefer the dreamy Patrik, but in the end she will probably be happy with the less ideal Honza, and the self-confident vulgar nymphomaniac Sylva flies from one lover to another like a butterfly, finally as she was the only one waiting for her dream Patrick.

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.

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

The distressing fate of the Czech great Jan Amos Komenský, forced to leave his homeland after the White Mountain disaster. It depicts his encounters with various European personalities of the 17th century - the Queen of Sweden, artists and scientists. It emphasises the hero's nobility, but also his inner resilience, which allowed him to overcome many personal and professional tragedies. The parable of The Labyrinth of the World and the Paradise of the Heart becomes part of the story. However, Comenius's concept is sculpturally lifeless and, in particular, the religious dimension is "erased" from it. The simplistic biography therefore does not avoid schoolboyish dryness.