Two Nil

At a football stadium in the very heart of Prague the biggest Czech football match of the year is about to take place. The live broadcast begins. This time, however, the twenty-two film cameras are not aimed at the pitch, but at the stands. They record how various people experience one common event. A little footballer, a bettor, a member of the security service, a distinguished literary critic, a lady in the VIP lounge or disoriented Italian tourist. Each character represents a unique version of the same match. As Hannah Arendt says: “Only where things can be seen by many in a variety of aspects without changing their identity, so that those who are gathered around them know they see sameness in utter diversity, can worldly reality truly and reliably appear.”