Food (Jídlo) – Jan Švankmajer, 1992

Svankmajer's Jidlo (Food)

Introducing Jan Švankmajer (Alice) to anyone always nets you a reputation for being a weirdo. From the word go, Food’s style is absurd and choppy, often very naturalistic, and more than a little risqué. But I think it’s well worth anyone’s time – so please indulge this weirdo as I talk about Švankmajer’s 1992 film Food and why it’s a lesser-known gem of Czech cinema.

Food contains three shorts films – breakfast, lunch, and dinner – that are thematically connected. They all contain some sort of food consumption (surprisingly) but there is often a twist that turns the simple daily rituals to downright bizarre affairs. In sixteen minutes, Food shows people who turn into machines, hungry diners devouring their clothes, and various kinds of gourmands digging into their own body-parts. So yeah, there’s a lot going on…

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Jan Werich’s Fimfárum (Fimfárum Jana Wericha) – Vlasta Pospíšilová and Aurel Klimt, 2002

Fimfarum Jana Werich
One ČSFD (Czech IMDb) reviewer reports that the lesson they learned from watching Fimfárum Jana Wericha is the following: if you’re a drunk unable to provide for your family or take care of your farm, offer your son to the devil and then use a homeless woman to get him back. And they’re not even reading anything into it. 
 

Fimfárum is one of those strange collections of stories that don’t like simple answers in life. The original book, written and later recorded on tape by Jan Werich in the 1960s, included 21 fairy tales, most of which are absurd or downright bizarre. The 2002 film adaptation didn’t have an easy task translating the light humour, ambiguous moral messages, and beautiful use of the Czech language to the big screen, but they nailed it!

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Alice (Něco z Alenky) – Jan Švankmajer, 1988

Alice 1

Once upon a time, I was so little that I could stand on the back of my nan’s sofa and survey the kingdom all around me. That summit seemed very high, and I was still small enough for her living room to be divided into several distinct regions. In the hazy distance opposite me (and it was hazy because my nan was a sixty-a-day woman) was the cliff edge of the mantlepiece. There lived regal ladies and gentlemen dressed in the fashions of the French court, and each of them bore the scars of terrible tumbles into the precipice below. My nan was not a fussy person, and each time one of them got knocked off and broken on the hearth, she would carelessly stick them back together with her trusty tube of Uhu. The figurines looked like Frankenstein creations, with arms, legs and heads reattached with bobbly contusions of sinister yellow glue.

Away to the far left, through the chasm between a sagging armchair and my nan’s monolithic rented telly, was a little-visited glade beneath the large bay window, where a wooden table contained the remnants of a long-defunct record player. On the far right of the room was my nan’s armchair, where she smoked, watched TV, read Mills and Boon paperbacks and idled away the hours doing word search puzzles. Between her armchair and the mantlepiece was a dark cabinet where she kept her most prized ornaments, glassware and keepsakes. Then, far below me, was the plateau of her coffee table. I was so tiny that I could make a den of it by propping mail-order catalogues against the shelf underneath and crawling inside…

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The Oddsockeaters (Lichožrouti) – Galina Miklínová, 2016

Oddsockeaters 1

Entertaining two young kids during lockdown for eight weeks has sometimes involved a lot of Netflix. Now, I’m a snob and I like my five-year-old daughter to watch as many live-action movies as possible, and it’s crazy how many family films these days are CGI.

That said, I don’t have anything against computer-generated features as such, because studios like Pixar and Laika have produced some of the best family films of the past quarter of a century, balancing rollicking adventure and unforgettable characters with meaningful themes.

However, for every Toy Story or Kubo and the Two Strings there are tons of poorly animated dross like The Dancing Pumpkin and the Ogre’s Plot, something that looks like it was put together by an algorithm rather than thinking, feeling human beings.

Somewhere in between – and thankfully more towards the Kubo end of the spectrum than The Dancing Pumpkin end – is The Oddsockeaters, a quirky fantasy adventure based on the book of the same name by Pavel Šrut. Directed by the book’s illustrator Galina Miklínová, it’s a playful tale about small magical creatures that love eating socks, but always leave one half of a pair for the owner, thus creating the age-old laundry mystery…

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