Synopsis
A portrait of Czech director František Čáp draws a picture of a voluntary refugee and emigré who dedicated his life to film. It is also a story of a person condemned for his collaboration with the Third Reich, later rehabilitated, who voluntarily leaves one totality for another: the hysteria of communism for capitalistic socialism.
František Čáp was never interested in politics or ideology. He never became neither a philosopher nor a demagogue. He himself confessed that different coincidences led him from one film to another and that it was the the times which put him into a particular historical and social context. He was a homosexual living for the film of the past which he himself picked. Most of all, perhaps, he was a director of the most successful Yugoslavian and Slovenian films of all time who never kept his sexual orientation a secret. The history of queer cinematography of the former Socialist Federal Republic of Yugoslavia begin with František Čáp. Many people began realizing it is so back in the 50s of the past century, many people refuse to hear about it even today. A moment of innocence.
František Čáp was never interested in politics or ideology. He never became neither a philosopher nor a demagogue. He himself confessed that different coincidences led him from one film to another and that it was the the times which put him into a particular historical and social context. He was a homosexual living for the film of the past which he himself picked. Most of all, perhaps, he was a director of the most successful Yugoslavian and Slovenian films of all time who never kept his sexual orientation a secret. The history of queer cinematography of the former Socialist Federal Republic of Yugoslavia begin with František Čáp. Many people began realizing it is so back in the 50s of the past century, many people refuse to hear about it even today. A moment of innocence.