Housing Expo(sed)
The cost of living in Prague rose twice faster than the incomes in 2018 while developers’ revenues doubled. The global housing crisis spread in Europe and began to affect the middle class.
The author is suddenly forced to move out herself. Leaving her home, she sets off on a journey to seek others in a similar situation paying a high price for the shift in understanding of the meaning of housing.
Audiovisual observational triptych searches for the meaning of „home“ and its influence on our everyday lives from three various perspectives. We visit a Spanish „mama hotel“, follow an East European developer in his endeavors and round up in Berlin tailing retirees demanding an expropriation.
The author is suddenly forced to move out herself. Leaving her home, she sets off on a journey to seek others in a similar situation paying a high price for the shift in understanding of the meaning of housing.
Audiovisual observational triptych searches for the meaning of „home“ and its influence on our everyday lives from three various perspectives. We visit a Spanish „mama hotel“, follow an East European developer in his endeavors and round up in Berlin tailing retirees demanding an expropriation.
Velvet Generation
Velvet Generation provides an insight into the lives, accomplishments and everyday struggles of young members of the LGBTQIA+ community from Eastern Europe. Our main protagonists (Luky, Liberty and Anton) met at a local ball and found their community among dancers, drag queens and other queer performers. Each of them is unique and expresses what it means to be queer in a distinctive way. The search for their place in the modern world unfolds against the backdrop of an emerging Czech and Slovak ballroom scene.
The film begins at a small local ball in Bratislava, Slovakia. We meet all our protagonists there. Luky as a competitor in performance categories, Liberty as part of the crowd and a support for her friend and Anton as one of the judges. From there we'll see them grow up from irresponsible teenagers to independent young adults, we will follow their journey to discover their own voice or witness the bloom of queer love manifested in a beautiful realtionship. At the end, Luky, Liberty and Anton will go on a road trip to a big international ball in Paris together with the rest of their ballroom house. Compared to where we had seen them at the beginning of the movie, we will be able to understand just how much they have grown in between - as a community, as performers and as individuals.
The narrative focus will be mainly on personal stories of the protagonists and the ballroom will be used as a frame for their story arcs and also as a place, where they meet as performers and as a community as well.
The film begins at a small local ball in Bratislava, Slovakia. We meet all our protagonists there. Luky as a competitor in performance categories, Liberty as part of the crowd and a support for her friend and Anton as one of the judges. From there we'll see them grow up from irresponsible teenagers to independent young adults, we will follow their journey to discover their own voice or witness the bloom of queer love manifested in a beautiful realtionship. At the end, Luky, Liberty and Anton will go on a road trip to a big international ball in Paris together with the rest of their ballroom house. Compared to where we had seen them at the beginning of the movie, we will be able to understand just how much they have grown in between - as a community, as performers and as individuals.
The narrative focus will be mainly on personal stories of the protagonists and the ballroom will be used as a frame for their story arcs and also as a place, where they meet as performers and as a community as well.
Because I Have to
The upcoming documentary Because I Have to unveils the life and work of Miloš Šejn (b. 1947), a visionary artist and former head of the Conceptual Art Department at Prague’s Academy of Fine Arts. For nearly 60 years, Šejn has created immersive, intermedial art that connects deeply with nature and spirituality, making him a celebrated figure in collections worldwide.
In this observational narrative, Šejn becomes our guide through the landscapes that have defined his life and art. Known for his intense, boundary-pushing performances, he challenges traditional norms, seeking to capture the powerful presence of each moment. The film journeys beneath the surface of Šejn’s thoughts, revealing his deeply spiritual approach that blends tribal, philosophical, and environmental perspectives.
In this observational narrative, Šejn becomes our guide through the landscapes that have defined his life and art. Known for his intense, boundary-pushing performances, he challenges traditional norms, seeking to capture the powerful presence of each moment. The film journeys beneath the surface of Šejn’s thoughts, revealing his deeply spiritual approach that blends tribal, philosophical, and environmental perspectives.
This House is Undamaged
"This House is Undamaged" is a documentary that explores the complex transformation of Mariupol, a city in Ukraine that was extensively destroyed during the Russian invasion in 2022. The film explores reconstruction efforts under Russian control and highlights the strategic obliteration of war marks through rapid rebuilding.
One of the film's main narrative motifs is the deconstruction of media narratives about the reconstruction of Mariupol. Through a thorough examination of various media sources - from social media posts, amateur footage and propaganda videos to official reports and advertisements - the film seeks to reveal how the image of the city's "reconstruction" is carefully constructed and manipulated. By exposing the flaws and distortions in these depictions, the documentary critically analyses how the media plays a key role in shaping public perceptions of urban transformation, both locally and internationally.
The film unfolds not around a single character, but around the city itself. Mariupol is both the protagonist and the stage, a body whose scars, ruptures, and forced transformations are traced through found footage, propaganda clips, amateur videos, and fragments of memory. Its streets and buildings, its ruins and reconstructions, speak louder than any individual voice. But the city is not only seen — it is heard. Its soundscape becomes the deeper narrative, the pulse beneath the image.
The city is read as topography — a map in flux, marked by shifting borders of control, layers of rubble and scaffolding, zones of habitation and zones of abandonment. Satellite images dissolve into shaky phone recordings; promotional clips overlap with whispered testimonies. The city becomes a palimpsest, where destruction and construction exist side by side, each erasing and overwriting the other, yet never fully succeeding.
One of the film's main narrative motifs is the deconstruction of media narratives about the reconstruction of Mariupol. Through a thorough examination of various media sources - from social media posts, amateur footage and propaganda videos to official reports and advertisements - the film seeks to reveal how the image of the city's "reconstruction" is carefully constructed and manipulated. By exposing the flaws and distortions in these depictions, the documentary critically analyses how the media plays a key role in shaping public perceptions of urban transformation, both locally and internationally.
The film unfolds not around a single character, but around the city itself. Mariupol is both the protagonist and the stage, a body whose scars, ruptures, and forced transformations are traced through found footage, propaganda clips, amateur videos, and fragments of memory. Its streets and buildings, its ruins and reconstructions, speak louder than any individual voice. But the city is not only seen — it is heard. Its soundscape becomes the deeper narrative, the pulse beneath the image.
The city is read as topography — a map in flux, marked by shifting borders of control, layers of rubble and scaffolding, zones of habitation and zones of abandonment. Satellite images dissolve into shaky phone recordings; promotional clips overlap with whispered testimonies. The city becomes a palimpsest, where destruction and construction exist side by side, each erasing and overwriting the other, yet never fully succeeding.