Peter Kerekes on Velvet Terrorists

Vol. 41 (May 2014) by Colette de Castro
Colette de Castro interviewed Peter Kerekes about the collaborative feature Velvet Terrorists.

Ivan Ostrochovský, Pavol Pekarčík, Peter Kerekes’ Velvet Terrorists (Zamatoví teroristi, 2013)

Vol. 41 (May 2014) by Colette de Castro
This collaborative, experimental film follows the fate of three dissidents who were jailed for committing terrorist acts under Czechoslovak Socialism.

Jan Kačer on his Career

Vol. 33 (September 2013) by Konstanty Kuzma
Czech New Wave actor Jan Kačer speaks about his career, the political climate in the 1960s, and his collaboration with Evald Schorm.

Evald Schorm’s The Seventh Day, the Eighth Night (Den sedmý, osmá noc, 1969)

Vol. 33 (September 2013) by Konstanty Kuzma
Konstanty Kuzma argues that Evald Schorm's 1969 film fails to refer to its allegorical target, the Prague Spring.

The Lives of Secret Others

Vol. 32 (August 2013) by Beth Holmgren
Beth Holmgren (Duke University) takes a close look at how recent Eastern European cinema is exhuming the cold-war era secret police.

Radim Špaček’s Rapid Eye Movement (Rychlé pohyby očí, 1998)

Vol. 32 (August 2013) by Julia Zelman
Julia Zelman saw Radim Špaček's 1998 debut.

Jiří Menzel on his Career

Vol. 30 (June 2013) by Konstanty Kuzma
Jiří Menzel speaks about changing perceptions of his films, being part of a cinematic movement, and the risks and merits of freedom.

Jaromír Šofr on his Career

Vol. 28 (April 2013) by Julia Zelman
Czech cinematographer Jaromír Šofr speaks about his formation, his involvement in the New Wave, and working with directors of different styles and ages.

The Politics of Recognition: Jews in Czech and Polish Post-Communist Cinema

Vol. 28 (April 2013) by Ewa Mazierska
Ewa Mazierska (University of Central Lancashire) discusses the representations of Jews in Polish and Czech films in postwar cinema.

Drahomíra Vihanová on her Work

Vol. 28 (April 2013) by Julia Zelman
The Czech 1960s director speaks about the way film school worked in the 1960s, the political atmosphere back then, her work, and how her film was banned after the Prague Spring.
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