Endorfilm

After years together, Petr and Hana, partners in work and in life, share their unspoken erotic fantasies. What begins as an innocent conversation gradually turns into curious experimentation with a non-monogamous approach to their relationship. But sexual freedom tastes differently for each of them. Without resorting to exploitation, Tomasz Wiński’s feature debut considers questions that are taboo for many couples. Borders of Love explores not only various forms of intimacy but also ways of depicting it on the big screen, since, among others, the protagonists themselves film each other on their mobile phones. Appearing in the main roles are Matyáš Řezníček and Hana Vagnerová, who collaborated on the film’s story and script as well.

Set in early 19th century Wallachia, Romania, a policeman, Costandin, is hired by a nobleman to find a Gypsy slave who has run away from his estate after having an affair with his wife.

A couple embark on an early vacation. Left alone, their children cut loose until the boy gets caught for skipping school and things take an unexpected turn. Boasting exquisite camera work, the film is also unforgettable for its wholly original ending.

"I do not care if we go down in history as barbarians." These words, spoken in the Council of Ministers of the summer of 1941, started the ethnic cleansing on the Eastern Front. The film attempts to comment on this statement.

On New Year's Day, two boys wind up in the apartment of Katerina, a teacher from their school, along with her friends, Stepan and David. As the older trio bickers, drinks and flirts, the boys gain eye-opening insight into the adult world.

Mischievously self-assured Mára and somewhat eccentric Heduš set out into the frozen wastes in search of adventure – by car, naturally. After all, Mára’s turning fifteen soon. A road movie about the flies that occasionally buzz around even in winter, and a story that tells of the elusive bond of boyhood friendship and the irrepressible desire to experience something, even if you don't exactly know what.

A story of children who feel safer in the streets than at home, about children seeking out sturdy lifeboats that cross between the world of fantasy and the harsh reality of life. Jarka is one of these children. Ten years-old, and living with a mother who is not yet ready to be a mom, Jarka spends most of her time alone. Pushed by her desire for love and to form a fully functional family, she finds herself substituting a "mother" to two babies.

Emi, a school teacher, finds her career and reputation under threat after a personal sex tape is leaked on the Internet. Forced to meet the parents demanding her dismissal, Emi refuses to surrender to their pressure.

Inspired by true events of the 1989 Czech and Slovak Velvet Revolution and Václav Havel's controversial release of 23000 prisoners.

A film about the phenomenon of Alexander Dubček, a Czechoslovak politician, one of the most prominent personalities of the Prague Spring of 1968, author of the concept of “socialism with a human face”.

A village mayor is trying to bring together local people in their thirties who are still single. 21st century social engineering in a situation documentary by Erika Hníková. Slowly but surely, the Slovak village of Zemplínske Hámre is dying out. But its mayor, a retired general, refuses to give up. In fighting the thirty-year-olds‘ solitude he has used a variety of weapons such as offering a financial incentives for every newborn child or encouraging childbearing via the local PA system. None of it has worked. However, the mayor has a new plan. He decides to organize an evening get-together for singles from all the neighboring villages. Will our heroes find their partners after all?

This time-lapse documentary follows the last years of former President Václav Havel's life, creating a multi-layered portrait of a world-famous political icon and important playwright, but also an ordinary man plagued by health problems. Havel allows the filmmakers a glimpse behind the scenes of his life, revealing purely personal moments that present him in previously unrecognised contours. With a sense of humour, he reflects on his political legacy and universal human issues. The central motif is formed by the parallels between Havel's life and the successful play Leaving, which Havel always wanted to direct as a film adaptation.

Lesya has committed a crime of passion which brings her a seven-year sentence in one of Odesa’s women’s correctional facilities. She has just given birth to her first child, and now she is entering a world populated only by women: inmates, nurses and wardens, women of all ages, wives and widows, daughters, sisters, pregnant women, and women with children too. If not for the color of the uniform, it would sometimes be hard to tell who is who.

Nina is pregnant with Jakub. Today, he introduces her to his family. They’re all gathered in the hospital at the bedside of his grandfather. Just as the young lady tries to put on a brave face, she is faced with the surprising reaction of the dying relative: he wants to see her breasts. This sparks a debate to which she is not invited – should the patriarch’s last vow be satisfied?

A cinematic, character-driven insight to what it meant to produce and to own a car in communist times: the Socialist propaganda dreams and the hard reality of living that dream. The freedom that these slow and clumsy vehicles were giving to their owners; the cars as an instrument in the Cold War battle; legends and homemade tune-ups as an attempt to stand at least a little bit off the crowd.

Three young people in search of dignity, justice and recognition. They are survivors of human trafficking and want the humanity back that was robbed of them. They will tell their story, they will tell it to us. We will follow them to the beginning. To the beginning of what, first and foremost, makes all of us human.

Peter "Koza" Baláz is a former Olympic boxer. He and his partner, Misa, live in a dilapidated housing estate, constantly struggling to make ends meet. Misa learns that she is expecting a child and decides to terminate her pregnancy. In order to earn some much-needed cash and possibly change Misa's mind. He and his manager Zvonko embark on a "tour", where success is not measured in victories, but in the amount of blows that Koza can take.