A multi-portrait of the history of post-1989 Czech ideas and sensibilities, centered around left-wing Christian philosopher Karel Floss. Circling his ideas on God, truth, and politics like satellites are statements by strongly antithetical individuals including Milan Knížák, Ondřej Slačálek, Noam Chomsky, and Czech nationalist thinkers. Working with a subtle sense of irony, the film is openly inspired by the style of Karel Vachek as it makes use of semantic counterpoints, situational humor and aloof formal elements. The result is a kind of audiovisual riverbed for channeling the fury of a nation that recalls a child that is just learning to think and does not know what to relate to first, because in a certain sense, basically “everyone is right”.

A multi-portrait of the history of post-1989 Czech ideas and sensibilities, centered around left-wing Christian philosopher Karel Floss. Circling his ideas on God, truth, and politics like satellites are statements by strongly antithetical individuals including Milan Knížák, Ondřej Slačálek, Noam Chomsky, and Czech nationalist thinkers. Working with a subtle sense of irony, the film is openly inspired by the style of Karel Vachek as it makes use of semantic counterpoints, situational humor and aloof formal elements. The result is a kind of audiovisual riverbed for channeling the fury of a nation that recalls a child that is just learning to think and does not know what to relate to first, because in a certain sense, basically “everyone is right”.

A multi-portrait of the history of post-1989 Czech ideas and sensibilities, centered around left-wing Christian philosopher Karel Floss. Circling his ideas on God, truth, and politics like satellites are statements by strongly antithetical individuals including Milan Knížák, Ondřej Slačálek, Noam Chomsky, and Czech nationalist thinkers. Working with a subtle sense of irony, the film is openly inspired by the style of Karel Vachek as it makes use of semantic counterpoints, situational humor and aloof formal elements. The result is a kind of audiovisual riverbed for channeling the fury of a nation that recalls a child that is just learning to think and does not know what to relate to first, because in a certain sense, basically “everyone is right”.

The six-hour essay in four parts examines the history of regimes and revolutions, leaders and martyrs, from a philosophical perspective. The collage of personal memories, staged scenes and archives of collective memory compares the Prague Spring to the Velvet Revolution and shows the exposure, conflict, crisis, and catharsis of the post-communist society.