Małopolski Ogród Sztuki
Small Screening Room
25th November (Monday)
Marek Najbrt – graduated from Charles University and the Institute of Documentary Filmmaking at FAMU. He is a screenwriter and director of many audiovisual and film projects. His director debut Mistři (Champions, 2004) was already a success and won three Czech Lions and many other awards. His next film Protektor (Protector) (2009), was also successful winning six Czech Lions and an award at the International Festival of Independent Cinema OFF Plus Kamera in Krakow. From 2010 to 2011 he made Polski Film (Polish Movie) which has been nominated to seven Czech Lions. Marek Najbrt worked on seventeen episodes of a popular HBO series In Treatment (2011). He was a lauraate of the IFF Etiuda in 1996.
The Silver Dinosaur Award
VYNÁLEZ KRÁSY / INVENTION OF BEAUTY, reż./dir.: Mark Najbrt, prod.: FAMU, Czechy/Czech Republic, 1995, 20’, fab./fic.
For over thirty years Karel Gott tirelessly presented his kitschy repertoire in an ideologically impeccable form which made him a major Czech cultural policy maker. Despite the change of the political system and his older age, he is still an idol for a common pop culture consumer. The sterility of his beliefs, and his constant presence on the popcultural stage, irrespective of a political situation, got the authors of the film into thinking that Karel Gott was a robot.
POLSKI FILM / POLISH MOVIE, scen./sc.: Mark Najbrt, Robert Geisler, Benjamin Tuček, reż./dir.: Mark Najbrt, wyst./cast: Pavel Liška, Tomáš Matonoha, Josef Polášek, Marek Daniel, prod.: Negativ Film Productions, Off Production, Czechy, Polska/Czech Republic, Poland, 2013,113’, fab./fic.
Four Czech actors who studied together at JAMU in Brno, Tomáš Matonoha, Pavel Liška, Marek Daniel and Josef Polášek, agree to make their dream come true and decide to make a film together. The project is financed by a Polish producer while Jan Budar, their friend, takes up directing. This is how it all started. The initial idyll soon turned out to be an illusion. The attempt to shoot Brno scenes in Krakow, Polášek’s catholic faith, Liška’s speech impediment and Matonoha’s financial frauds change the making of the film into a survival struggle in the middle of the Biszczadzkie hills.