Dear pals, there are the pretty provincial cinemas, like the American, the Spanish, the German one, the Scandinavians; and the truly mature cinemas—like the French, Italian, Czech, Polish, Russian, Japanese cinemas. I wonder where the British one might fall in. now once we took up heavy theorizing I might break it to you as well that the meteoric appearances or the Halley comets in provincial cinemas—a Bergman, a Welles or a Buñuel
--leave things pretty intact.
ZAHRADA is the kind of thing that looks even better on paper only, as a draft, as a reverie.
Martin Sulik is not one of the greats; but his small fantasy testifies for a cinema healthier that the commercial mainstream ones. As it is, ZAHRADA hints to a desire, to some secret aim some indulge in—the desire for a hidden wonderland. As ZAHRADA is a pretended mature comedy, this wonderland is strongly sexual.
There is, in fact, some _truish ring to this ZAHRADA—Martin Sulik, the director, gathered some nice actors—one of them, Labuda, known from the '60s directors' outputs—for a dry fairy—tale; the idea being that a young man might find somewhere a realm that's even more magic and soothing than sex with a married woman.
The budget must have been close to none; the atmosphere is healthy, and there are only six actors for the whole movies—two babes, two men, the creepy Rousseau (--with his wife—let's not count each bitty player) and one mum (well, one of the babe's also a mum ).
I liked the score; the two babes; Labuda's performance; Rousseau's intriguing role; the loose surrealism, no strings attached, no ambitions whatsoever either. The merry careless sexuality is very Czech.
For a nasty surreal comedy, ZAHRADA is quite sensual and sexy; the babes are hot. Now Czech imagery is bathed in surrealism and bizarre comedy; and in this comedy there is also a wife with awesome tits, a MILF, as they call them .
Breasts are basically the sincerest part of the woman's body; they are meant for babies, for lovers, etc.. They inspire and suggest sincerity, confidence, ingenuity.
Now you'll get a pair of those in this friendly comedy.
ZAHRADA is the kind of thing that looks even better on paper only, as a draft, as a reverie.
Martin Sulik is not one of the greats; but his small fantasy testifies for a cinema healthier that the commercial mainstream ones. As it is, ZAHRADA hints to a desire, to some secret aim some indulge in—the desire for a hidden wonderland. As ZAHRADA is a pretended mature comedy, this wonderland is strongly sexual.
There is, in fact, some _truish ring to this ZAHRADA—Martin Sulik, the director, gathered some nice actors—one of them, Labuda, known from the '60s directors' outputs—for a dry fairy—tale; the idea being that a young man might find somewhere a realm that's even more magic and soothing than sex with a married woman.
The budget must have been close to none; the atmosphere is healthy, and there are only six actors for the whole movies—two babes, two men, the creepy Rousseau (--with his wife—let's not count each bitty player) and one mum (well, one of the babe's also a mum ).
I liked the score; the two babes; Labuda's performance; Rousseau's intriguing role; the loose surrealism, no strings attached, no ambitions whatsoever either. The merry careless sexuality is very Czech.
For a nasty surreal comedy, ZAHRADA is quite sensual and sexy; the babes are hot. Now Czech imagery is bathed in surrealism and bizarre comedy; and in this comedy there is also a wife with awesome tits, a MILF, as they call them .
Breasts are basically the sincerest part of the woman's body; they are meant for babies, for lovers, etc.. They inspire and suggest sincerity, confidence, ingenuity.
Now you'll get a pair of those in this friendly comedy.