Jurácek's feature debut is shot in two parts. In the first, a corporal accompanies a new recruit with a sore Achilles tendon for his physical, and all the girls or young women they see are played by the same actress (Ruzickova). In the longer second segment, shot with the help of the Czechoslovakia army, the soldiers pass the time during basic training and maneuvers by talking about girls.

The lives of 7 friends in a small Czech town from 1945 to some time after 1958.

The photographer and his wife, a former beauty queen, make a living casting death masks. But their obsession goes so far that they decide to cast the face of a living person.

A teenage witch, frozen in time as a punishment for 300 years, finds herself in a modern world.

In the story of two generations searching for a fixed point in their lives, the film offers a reflection on the possibilities of escaping the reality of place, time and human responsibility. In a narrative between fiction and documentary, the past and the present are intertwined, and events both lived and written. The film takes advantage of the atmosphere of Ústí nad Labem and the unique possibilities of the Drama Studio of that time. It is linked to the theatre by the actor Jiří Schmitzer, who was a member of the ensemble for ten years, as well as the actress Jitka Prosperi and Miroslav Bambušek, who was a guest director and author there. However, the actors who also appeared on the stage of the Drama Studio were Čerčil's representative - former stage technician Zdeněk Novák, former wardrobe mistress Petra Poláková and inspector Ester Hocke.

In May 1945, Czech revolutionaries used several armoured trains in the fighting - partly captured, partly assembled from whatever the railway brought. One of them was commanded by the shunter Jan Chýň, who managed to bring weapons from the ammunition depot in Libčice to help the fighting in Prague.

The distressing fate of the Czech great Jan Amos Komenský, forced to leave his homeland after the White Mountain disaster. It depicts his encounters with various European personalities of the 17th century - the Queen of Sweden, artists and scientists. It emphasises the hero's nobility, but also his inner resilience, which allowed him to overcome many personal and professional tragedies. The parable of The Labyrinth of the World and the Paradise of the Heart becomes part of the story. However, Comenius's concept is sculpturally lifeless and, in particular, the religious dimension is "erased" from it. The simplistic biography therefore does not avoid schoolboyish dryness.