Two different productions of Václav Havel's Beggar's Opera reveal the political dynamics of Czechoslovakia before and after the velvet revolution.

For twelve years, a film crew has been following the lives of four people who appeared in public in November 1989. Musician Michael Kocáb, dissident Jan Ruml, young participant in the National Avenue intervention Kryštof Rímský, and student leader Martin Mejstřík. The period after November opened up new possibilities, opportunities, and chances for everyone. This unique film project captures their search, their wanderings, their resolutions, and their doubts on the path to finding their own place in the turbulent waters of a transforming society.

From the behavior, discourse, and appearance of individual actors, Vachek composes, in the form of a mosaic, a broad and many-layered film-argument about Czechoslovak democracy in the period of its rebirth, all administered with the director’s ini­mitable point of view.

Quite a few years have passed since November 1989. Czechoslovakia has been divided up and, in the Czech Republic, Václav Klaus’s right-wing government is in power. Karel Vachek follows on from his film New Hyperion, thus continuing his series of comprehensive film documentaries in which he maps out Czech society and its real and imagined elites in his own unique way.