Tibor Michalčík

Birds, Orphans and Fools

In the aftermath of war, two men and a woman begin acting more like children than adults, leading to tragedy.

The Deserter and the Nomads

An apocalyptic story of three wars in three film tales encompassing the end of the WWI,WWII, as well as a vision of the world destroyed by nuclear weapons. This film was honored at the film festivals in Venice and Sorrento. Immediately after that the copy with Italian subtitles was locked in a safe as evidence of the anti-communist activities of the director, who used real footage of the Soviet invasion.

The Deserter and the Nomads

An apocalyptic story of three wars in three film tales encompassing the end of the WWI,WWII, as well as a vision of the world destroyed by nuclear weapons. This film was honored at the film festivals in Venice and Sorrento. Immediately after that the copy with Italian subtitles was locked in a safe as evidence of the anti-communist activities of the director, who used real footage of the Soviet invasion.

Dialogue 20-40-60

"Using the same, three times repeating dialogue – dramatic conversation between man and woman – Jerzy Skolimowski from Poland, Slovak director Peter Solan and Czech director Zbynìk Brynych shot three different stories. The result was an extraordinary experiment in the world cinema, which we can call an insight in the relationships of men and women of different age groups, an analysis of love and marriage of those who are at the beginning, in the middle or going towards the end of their life."

A Pact with the Devil

A comedy about five students who are un-justly suspected of trying to lose their virginity before their graduation. The five girls first try to defend themselves, but when they find out that nobody believes them - neither the school principal nor even their own parents - they decide to accomplish what they have been falsely accused of. And although their clumsy attempts are mostly comic, at one point they almost cause a big tragedy.

Every Week Seven Days

The film could have been a lyrical evocation of the ČSSR's first generation: the youngsters born during the war, who grew up in a state violently at pains to find and define itself, and were now ready to break away from the nation-builder ethics of their elders – but Grečner turned it into an anxiety-riddled existentialist vision of a whole globe in fear.