From time to time, we have produced an admirable film about the virtues of the domestic army, which raised the right men in ideal conditions - in this case, we meet the enthusiastic drill sergeants in green, who selflessly rehearse a demanding Spartakiad composition... So, two aspects important to the regime have merged into one. But even this did not change the incredulous, spasmodically optimistic yawn that perhaps even those who had set all this up could not believe. The film uses documentary footage of the soldiers' Spartakiada performance in 1980.

In the late 1980s, several films were made that wanted to come to terms with the crimes of Stalinism, but they did so with a very alibi - they basically communicate that it is enough to remove the erroneous deviation of the communist regime for this social system to become fully humane again. This also applies to the immediate post-war fates of former front-line fighters - one fought in the Soviet Red Army, another in the English Air Force, another was a soldier in the Slovak Army. The difficult character check will only be completed by the 20th Congress of Soviet Communists, which condemned recent blunders. The film was made based on a proposal by former Foreign Minister Bohuslav Chňoupek.

An image and music collage - a cinema concert - guided by a young sound engineer David, for whom the exhibition on E. F. Burian is an incentive to take more interest in this avant-garde artist. The film interweaves two strands - documentary and factual, drawing on contemporary material and archival images - and fictional with the story of David the sound engineer.

The story of a close-knit group of young kids in Nazi Germany who listen to banned swing music from the US. Soon dancing and fun leads to more difficult choices as the Nazis begin tightening the grip on Germany. Each member of the group is forced to face some tough choices about right, wrong, and survival.

Sudetenland, May 1945. A group of retreating German soldiers capture a group of young female workers, totally deployed in a chemical factory. He wants to use them as hostages during his advance to the American demarcation line. Together with them, they take refuge in a nearby castle, which soon becomes the site of the last battle that takes place both in the minds and in the backdrop of war-torn Czechoslovakia, shortly before liberation. A psychological probe as well as an intimate drama set within the walls of a small castle, it is a mosaic of mini-stories charting the fates, attitudes and thought processes of individual characters on both sides of the barricade.

Although the title would suggest it, this film has nothing to do with fairy tales at all: it takes place in the North Moravian border region just after the end of the Second War. It presents a fragmented mosaic of the fates of many people, returnees and immigrants, who tried to start a new life and believed in a happier tomorrow. Although the director Antonín Kachlík tried to give the story a certain credibility, he submits to the ideological demands of the 1980s. North Moravian borderlands in the first post-war year: a disparate and fragmented sequence of episodes depicts the individual fates of returnees and new immigrants. Another title that perhaps did not even need to be created.

There was a greengrocer who had a son, Jakub, who was selling at a market. And since he was her only son, she literally saw herself in him. But Jakub was a pretty spoiled little boy who was proud of his pretty face and only liked people with a good appearance. So he didn't like it at all when one day a strange woman stopped by the greengrocer's stall and started poking her long and ugly nose everywhere... If he had known that she wasn't just any woman, but an experienced and somewhat malicious witch, he would have saved himself a lot of trouble. The witch punished Jakub for his arrogance...

After a colleague is murdered, insurance worker Kafka gets embroiled in an underground group who are attempting to thwart a secret organization that controls the major events in society.