Folk theatre by Jan Lazorík.

The drama called I Love, You Love was made in 1980 but because of the absurd ideological ban, the film entered cinemas nine years later. Pišta is an unmarried man who works at a freight wagon which carries letters and parcels. Alcohol helps him to overcome his handicap of being short and not good-looking. He wishes he had a woman, but the woman he really wants, ageing Viera who reloads the cargoes, has a soft spot for another man. So, Pišta has nobody and nothing, except for senile mother who sometimes fails to recognize him. The film received Silver Bear for Best Director at the International Film Festival in Berlin.

Criminal thriller about traffickers and smugglers from Ukrainian border. The feature film about the borders and the life on their edge.

Ten short unrelated stories that move chronologically through Slovakia's twentieth-century history as seen from the perspective of life in small towns and villages.

In 1947 by the Beskid mountains, the traces of war still linger, destroyed tanks dispersed throughout the farmland creating an eerie backdrop. This film follows a ten-year-old boy and the strange visions he encounters, his world of fantasy exacerbated with ample time, space, and a lack of companionship or guidance. We see the adults that influence and dominate his life, for better or for worse. Surreal and packed with an excellent study of human emotions and motivations compounded by their rural, isolated vacuum of a town, this is a timeless and severely underrated film from a brilliant Czech director.

A tragicomic story about the "hug" that all the characters long for, especially sociologist Oskar, an indecisive loser whose daily bizarre encounters with old people in nursing homes lead to feelings of futility, emptiness, and loss of vital energy, which reinforce his refusal to bring a child into this meaningless world. However, his wife's desire for motherhood grows.

In communist Czechoslovakia in 1980, Mara dreams of leaving her village to study in the city and become a pilot. But her father, a widowed Ruthenian farmer, insists she stay and work the land. When her village faces destruction due to a new dam, their generational conflict intensifies, revealing the struggle between tradition, identity, and the desire for freedom in a context of historical change.

Svetlana stares into the salt desert with her only eye. Gulshat runs an empty hotel. Captain records traces of the vanishing sea, and Sergei drives tourists across its bare, glittering seabed. The last people of Mo´ynoq who remember the original shore of the drying Aral Sea...