Alena Mikeťuková

The Great Movie Robbery

The film is essentially a feature-length commercial for an exhibition to mark the 40th anniversary of the nationalisation of the Czechoslovak film industry, to be held at the Prague U Hybernu venue. The protagonists of the piece are comedians Oldrich Kaiser and Jirí Lábus, who are set to accept an award from Japanese television representatives at the exhibition. At the same time, five gangsters plot to seize a revolutionary invention devised by professor Suzuki - a super holograph, which enables any figure from television to be transported in the flesh into the real world, and vice-versa.

Love from the Passage

A drama based on the criminal youth life in Prague during eighties.

Don't Take the Sweater Off

A young Czech couple are terrorized by their funny family.

That Instant, That While

Autumn 1944. A doctor is accused in the collaboration with the Nazis and found guilty...

Murder in the Excelsior Hotel

In Vražda v hotelu Excelsior, the interwar period homicide detective squad from Prague investigates the murder of a wealthy woman, Mrs Matoušová, which threatens the reputation of the eponymous luxury hotel popular with Prague’s elite. Even the retired police inspector Mrázek (František Filipovský), who works at the Excelsior as a hotel detective, is unable to help at first. Although the investigation inevitably uncovers the hotel staff’s scheming, Vacátko and his team unerringly follow the trail that leads them to the murderer…

The Matches of a Beautiful Dragoon

In a suburban villa, a woman of means is murdered. Police Superintendent Zdychynec from the Prague Liben neighborhood reports the case to Police Councilman Vacátko, upon whose order an investigation is launched immediately. Zdychynec begins to suspect the wooer of his own daughter, a handsome dragoon named Rudi, of the crime. In Rudi's absence, Zdychynec searches his rented room in the apartment of the elegant Mrs Dragicová. All his findings - among others, sand left on Rudi's jackboots and a decent amount of money in his bedside table - convince the superintendent that he is following the right lead, especially when Rudi refuses to say where he was at the time of the murder.

Burglar and Umbrella

In the morning twilight of Prague, the dead body of the safe-breaker Toufar is found floating on the river Vltava with a knife in his back. Police inspectors visit Toufar's lover, the prostitute Anna Kulatá (Jirina Bohdalová), nicknamed Umbrella, and it is apparent that the moment before she opened the door of her flat, someone fled through the window. Umbrella is summoned for examination to the head of the criminal police - Police Councilman Vacátko Jaroslav Marvan, but although shocked by the photograph of the dead man, she does not confess to anything. Before Toufar, Umbrella lived with the safe-breaker Penicka (Radoslav Brzobohatý), who loved her very much and made her quit her street trade. But when he was sentenced to three years' imprisonment, Umbrella began to live with the brute Toufar, who chased her to street again. In the case of the murder, Penicka is therefore the prime suspect.

The End of Agent W4C

The invincible agent Cyril Juan Borguette alias W4C has been assigned a mission to go to a hotel in Prague, get hold of a saltcellar with a plan for the military exploitation of Venus hidden in it, and hand it over to the beautiful agent Alice. He will have to compete for the saltcellar with other agents working for the world's various greater and smaller powers. The head of the Prague counter-intelligence unit gets news of agent W4C's mission. Deficient in personnel, he nominates accountant Foustka as agent 13B. Mr Foustka takes his dog Pajda with him and the two head for the airport. Pajda helps him track down agent W4C in a classy hotel that becomes the battleground for the interests and plans of the secret agents from different countries, each trying to get hold of the precious saltcellar.

Martyrs of Love

This three-part ballad, which often uses music to stand in for dialogue, remains the most perfect embodiment of Nemec’s vision of a film world independent of reality. Mounting a defense of timid, inhibited, clumsy, and unsuccessful individuals, the three protagonists are a complete antithesis of the industrious heroes of socialist aesthetics. Martyrs of Love cemented Nemec’s reputation as the kind of unrestrained nonconformist the Communist establishment considered the most dangerous to their ideology.

Seven Days in a Week

Seven days, or rather evenings and nights, in the life of Jenka (Stanislava Bartosová), a young good-looking nurse. Jenka is attractive to men and enjoys their company, but there is a limit beyond which she won't go, since she is faithful to her Filip, who is doing his military service. On Sunday the girl awaits Filip to arrive on a short period of leave, but instead his friend Míla (Frantisek Nemec) turns up and apologizes for Filip, who has to stay in the barracks.