Ofka has fallen into a strange lethargy: while most of her high school classmates continue their studies, she refuses to leave the deceptive comfort of childhood, which is quickly turning into a stifling trap. She works in her brother-in-law Eda's 24-hour shop and lets the fragments of wasted lives of regular and random customers, as well as those of her old friends who, like her, only really live at night, flit around her. Sometimes she drops in on a group drinking in the Vltava harbor, wanders the streets with the eccentric Ubre, who is fascinated by fishing discarded items out of trash cans and hopelessly in love with her, and avoids Míra, who, on the contrary, has stopped loving her. However, it is becoming increasingly clear to her that one day she will have to say goodbye to her childhood, cross the borders of her native neighborhood, and start doing something with her life...

33-year-old Roman decides to tackle his drug addiction by undergoing group therapy as part of a community holed up on an isolated farm in the Šumava mountains. Twelve people, men and women of varying ages and social status, voluntarily subject themselves to a tough regime under the supervision of three therapists. Many of them have stared death in the face already – overdoses, suicide attempts, and aggression heightened by the use of hard drugs, outwardly affecting even the strongest of them. Each brings something of his past into the group, which he has to experience again, both for himself and for those assembled. Past anguish, wrongs and guilt give rise to new problems: in this thickening atmosphere of suspicion and lies, who can still be trusted? This intimate psychological drama deliberately sets out to break up the tight narrative form through retrospectives in which we learn about the past life of each individual.

Isabela, a retired woman, floods her drug-addicted neighbor's apartment with her washing machine. A repairman must be called. The handyman arrives at the apartment, which does not look like the home of a lonely senior citizen, but rather like a clinic for deranged individuals... Isabella's neighbor is unable to fulfill his late wife's last wish, the flooded junkie hates pensioners, refugees, and the government, and Isabella is visited by her offended husband, who has been dead for years and complicates her life and the repair of the washing machine... During this bizarre visit, the illusion of one happy marriage falls apart, one old misunderstanding is cleared up, and several others arise. The second half features the short film Barcarole, also produced by Divadlo Verze.

Film crew on the road: Director (Jaroslav Plesl), his Producer (Simona Babcáková), and their Director of Photography (Jirí Vyorálek) and Sound Arist (Johana Svarcova). Starving artists who already have a number of films to their names, Czech Lion award-winning films, excellent reviews and have been screened at numerous festivals, but they don't have audiences. Their next collaborative effort - the Director's lifetime dream - is quickly becoming oblivion because he failed to win a grant, which means it won't be made. And so the frustrated Director and his colleagues await their chance among record-holders of curious disciplines such as crawling with a squash racket or collecting four-leaf clovers. How will the collision of these two worlds end? What will the Director's next film be about?

Tereza is a former prima ballerina at the National Theater who ended her career as a professional dancer after an injury and moved with her husband Petr and seven-year-old daughter Maruška to an abandoned mill in the Broumov region, which she inherited from her grandmother. With dogged determination and limited financial resources, she is renovating the building to create a new home for her family. She earns extra money by running a physical education club at the local school.

Dostoevsky’s latter-day opus about the siblings and their father is among the masterpieces of world literature. It asks profound questions about ethics and religion. Is there a God? Does the devil exist? Is everything allowed because we live in a world without morality? And if so, does patricide even constitute a crime? One of the most interesting adaptations of the material is The Karamazovs by Czech director Petr Zelenka. We witness a group of thesps from Prague on a trip to Krakow in Poland to stage the novel as a play in a derelict steelworks as part of the Closer to Life Festival. The project, however, is born under the bad sign, apparently doomed from the start. When they arrive, the roof is about to cave in, so that the actors are told to wear safety helmets. Their sole consistent audience is a laborer (Andrzej Mastalerz) who rather follows each dress rehearsal than watching over his seven-year-old son who has suffered a tragic accident in the factory.

Libor, a former teacher, enjoys a well-paid position as a bank manager, living in a luxurious villa outside Prague. His business partners are taken into custody and the authorities have a few questions for him to answer. Rather than wait around, he decides to take off to Moravia with his wife and two children. In the process, he pretends that everything is normal, rediscovers the value of family life, meets up with a former colleague lost in provincial obscurity, and becomes the object of a manhunt. Libor is not a criminal type, merely someone who signs cheques and is drawn into a business world failing to recognise its own criminality (he doesn’t even flee the country).

In a deserted clearing, a forest ranger finds the lifeless body of a man. He manages to revive him, but the man remembers nothing. He doesn't know how he got into the forest or why he is covered in blood, and instead of answering questions, he runs away. The ranger sets out after him and gradually discovers that the man is involved in a bloody vendetta, which he may have initiated himself and in which his fourteen-year-old daughter plays an important role.

Richthofen goes off to war like thousands of other men. As fighter pilots, they become cult heroes for the soldiers on the battlefields. Marked by sportsmanlike conduct, technical exactitude and knightly propriety, they have their own code of honour. Before long he begins to understand that his hero status is deceptive. His love for Kate, a nurse, opens his eyes to the brutality of war.

An unusual story about love and laziness. Thalia Award for the title role for I. Trojan. Recording of a performance at the Dejvice Theater in Prague.