SOFFA 15 / FILM, English edition by SOFFA

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VOLUME | 15

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SOFFA ISSUE 15 IS DEDICATED TO FILM In addition to the traditional features of interiors and recipes, this issue presents stories inspired by Czech and international film and television. The travel section will take you on a journey to the Swedish island Fårö, intrinsically connected to Ingmar Bergman. In addition to photographs from Bergman’s film locations, you can look forward to an interview with Arne Carlsson, Bergman’s close collaborator. In the extensive special on the Karlovy Vary International Film Festival we will show you hidden gems of Karlovy Vary (Carlsbad), including the places you should not miss during breaks between film screenings. An unconventional fashion photo essay will take you backstage at Barrandov Studios, one of the oldest, largest and most sought-after film studios in the world. You will also discover the Czech phenomenon of televised bedtime stories called Večerníček, and enjoy an interview with Gene Deitch, the producer of animated legends such as Tom and Jerry. Finally, you will be able to let your fantasy fly thanks to a stunning visual film essay. And what is a must in an issue dedicated to film? Recommendations for films you shouldn’t miss!

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ISSUE THEME: FILM In the big film issue SOFFA 15, join us for an exciting encounter with stars past and present and a journey to uncover the stories of the silver screen.

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CONTENTS - VOLUME | 15

â&#x2013;º

EDITORIAL A Room with a View

01 | GARDEN DECOR Outdoor Cinema

03 | RECIPE Dreamy Dessert

04 | SOFFA & VOLVO Highline Act

06 | ON OFFER Festival of Places 6

07 | FILM & FASHION Hollywood above Prague

02 | INTERIORS A Place for All Your Senses

05 | FILM PERSONALITIES Glasses Wherever You Look

08 | CZECH ANIMATION An Animator in Love

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Hurry Up, Večerníček is On!

09 | TRAVEL On Bergman’s Island

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Bergman as Director

Bergman as Mentor

10 | TECHNOLOGY Škoda Unleashes a Mighty Bear

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149

157

11 | GALLERY OF CINEMA Stardust Memories

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12 | FILM ESSAY Ten Overlooked Masterpieces

Bergman? Not Here.

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13 | SOFFA & FEDRIGONI Wrapped in Paper 7

A RO O M W I T H A V I EW text: Ladislav Babuščák

a dark room with no windows and a blank canvas. millions of stories transported by light. projected in front of us. in cathedrals we are stunned by the light shining through colourful glass windows. in cinemas we block windows overlooking reality and live different lives. why do we love movies? they call them moving images. sitting still in soft velvet chairs. we are moved by moving images. everything in the universe moves. nothing that enriches us is still.

abundance of gestures / explosion of stories / transformation of meanings. we live in other people. we trespass discrete zones and cross borders of intimacy. we adore in close-ups and love in slow motion. what kind of black magic is this? a dark room with no windows and a blank canvas. tabula rasa. anything can happen and it probably will. endless possibilities. some of them must be your story. so here is your ticket.

visual essay by: Ladislav Babuščák | photographs: film archive

TOUCHÉ

*photograph formats correspond to film formats

SLOW WEST_2015_JOHN MACLEAN

THE ICE STORM_1997_ANG LEE

THE TREE OF LIFE_2011_TERRENCE MALICK

THE WALL_2012_JULIAN PÃ&#x2013;LSLER

THE GIRL_2012_JULIAN JARROLD

SEX, LIES, AND VIDEOTAPE_1989_STEVEN SODERBERGH

THE CELL_2000_TARSEM SINGH

GILDA_1946_CHARLES VIDOR

39 STEPS_1935_ALFRED HITCHCOCK

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G A R DEN DECO R Playful Summer Style

We thank Jana Havránková for the beautiful photo shoot location (www.restaurovani-starozitnosti.cz)

Stool Cork Family C, design by Jasper Morrison, Vitra, CZK 9 210 | Leather Side Table, design by Ronan & Erwan Bouroullec, Vitra, CZK 18 981 | Metal Side Table, design by Ronan & Erwan Bouroullec, Vitra, CZK 14 963 | LiTech Coffee/Tea Kettle, www.primus.eu, € 25 | Dragon Cups, www.butlers.cz, CZK 599 | Wooden Decorations Mother Fish & Child, design by Alexander Girard, Vitra, CZK 3 274 | Rugs Rangina and Daizangi, www.maimana.cz, CZK 19 000 and CZK 28 000

SOMETIMES YOU WANT TO SEE A FILM, BUT THE CINEMA IS NOT PLAYING ANYTHING YOU LIKE. OR PERHAPS YOU DON’T WANT TO BE STUCK INSIDE A CINEMA HALL WHEN IT IS BEAUTIFUL OUTSIDE AND YOU WOULD RATHER ENJOY THE OUTDOORS IN THE EVENING. LET YOURSELF BE INSPIRED BY OUR CREATION OF A GARDEN OUTDOOR CINEMA, WHERE A BED SHEET WILL DO FOR A SCREEN.

text: Helena Novotná | styling: Lenka Hlaváčová | photo: Adéla Havelková

O U TDOO R CIN EM A

Akari 10A Floor Lamp, design by Isamu Noguchi, Vitra, CZK 13 732 | Butterfly Stool, design by Sori Yanagi, Vitra, CZK 13 281 | Picnic blanket, design by Kateřina Soukupová, www.katerinasoukupova.cz, CZK 2 340 | Rug Mushwancha, www.maimana.cz, CZK 12 800 | Rugs Rangina and Daizangi, www.maimana.cz, CZK 19 000 and CZK 28 000 | Dragon Cups and tray by Timber, www.butlers.cz, CZK 599 and CZK 229 | LiTech Coffee/Tea Kettle, www.primus.eu, € 25

Some other advantages of a home outdoor cinema? It is ‘dog friendly’ and you can drink something different than an overly sweet movie house lemonade. Maybe a homemade green tea?

Wooden decoration by L’Oiseau, Vitra, CZK 2 520 | Stainless steel pot with lid, www.primus.eu, € 36 | Bowl and plate by Samurai, Chopsticks by Dragon, www.butlers.cz, CZK 89, CZK 109 and CZK 499 | Weber Fireplace, www.weberstephen.cz, CZK 5 490 | Pillows, design by Kateřina Soukupová, www.katerinasoukupova.cz, CZK 3 800 and CZK 2 100

Instead of popcorn enjoy some real food and combine movie watching with grilling. Then you simply need a comfortable pillow and a cozy blanket and the movie can begin!

YOU CAN EASILY CREATE YOUR OWN OUTDOOR CINEMA. ALL YOU NEED IS SOME OF OUR INSPIRATION AND A BIT OF YOUR OWN IMAGINATION. OUTDOOR LIVING IS BEAUTIFUL!

styling: Adéla Kudrnová | photo: company archives

OU TDO OR CIN EM A

n H55 Easy Chair, Skargaarden, store.dwell.com, $ 900 | Formakami JH5 Pendant, design Jaime Hayon, &Tradition, www.dopo-domani.com, € 259 | FireGlobe Fireplace, www.evasolo.com, € 300 | POV Planter Frame, Note Design Studio, www.finnishdesignshop.com, € 35 | Cooking Utensils Small, www.primus.eu, € 6 | Master-Touch GBS Grill, Weber, www.weberstephen.cz, CZK 8 990

I N T ER I O R S Ostrava Restaurant SCAN|SEN

A P L ACE F O R A L L YO UR S EN S ES text: Adéla Kudrnová | styling: SOFFA | photo: Lina Németh

THE RECENTLY OPENED OSTRAVA RESTAURANT SCAN|SEN TITILLATES ALL YOUR SENSES: YOUR SIGHT, YOUR SMELL, YOUR HEARING AND YOUR TOUCH. YOU REACH THE BOTTOM OF A PLATE AND NEW TASTES AWAIT. SCAN|SEN IS A PLACE WHERE THEY DO THINGS THE WAY THINGS USED TO BE DONE, A PLACE THAT LISTENS TO THE PASSAGE OF TIME, TO WEATHER, TO TRADITIONS. THEY COOK FROM INGREDIENTS THAT WERE HARVESTED NEARBY. A PLACE IN THE MIDDLE OF THE CITY YET NOT FAR FROM THE OPEN SKY, ONCE A DREAM AND NOW A REALITY FOR THE ARCHITECTURAL DESIGNER DANIELA HRADILOVÁ. AND WHAT SIXTH SENSE WILL YOU FIND AT SCAN|SEN? THE ABILITY TO EXPERIENCE THE VARIOUS SHAPES AND COLOURS OF TASTE AND SMELL. We met Daniela Hradilová during the photo shoot of the interior of the Ostrava hotel city.city, which she has also designed. We immediately connected through several common passions, including our love for Nordic countries. Daniela’s passion for the Nordic region is reflected in the name of the restaurant SCAN|SEN, about which she speaks with ► RIGHT AND NEXT PAGES: The clean white walls reveal the contours of the space. Similarly the terrazzo floor allows the beauty of the everyday objects to shine, be it in chairs or the cutlery. In addition to the wooden tables and chairs In Between by &Tradition and the colourful chairs Drop that resemble drops of water, designed by Fritz Hansen, the dominant interior feature is a hand-woven wool tapestry Netřesk, designed by Petr Nikl. SCAN|SEN is located in a home that used to belong to a wealthy Ostrava entrepreneur Mořic Bachner. During the renovation of the building Daniela removed the ceiling, opening up the space and bringing in more light. The open space is filled only with the hanging lights Ignis designed by Eduard Herrmann for the Czech brand BOMMA.

great affection: “To build a new restaurant requires a chef and a designer – two bums sitting on the same seat,” says Daniela. “I love the time before, somewhere before the beginning, before we break through the walls that have been blocking light, before we take away the debris, before the space is born. And I love contrasts, because in contrast is where you find harmony.” And that’s exactly what SCAN|SEN is about, unity with nature, balance of materials (different types of wood, stone, concrete and glass) and harmony of flavours. The name of the restaurant is also a play on the English word scan and the Czech word sen [dream]. “You want from a space what you want from your loved one: to care for you, to listen to you, to help you enter your own dreams,” explains Daniela. And it was one of Daniela’s dreams to create a restaurant that would feel close to nature. SCAN|SEN is connected to nature through large windows that appear to be paintings, their deeply set frames blurring the boundary between the interior and exterior. A small courtyard as if made for enjoying long summer evenings contributes to a great sense of freedom. The heart of SCAN|SEN is the open kitchen where the lunch and dinner specialties are prepared. The food offered here requires a lot of preparation, as SCAN|SEN is about traditional ingredients prepared with modern techniques, but mostly with great care and attention to detail. For more information visit: www.scansen.cz and www.dependelab.cz ■

LEFT: A key aspect in the life of the restaurant is the open kitchen, which is also open to imagination. The creator of the kitchen concept is Daniel Šíra, who was inspired not only by the far north, but also by the scented hills of his native Valašsko (mountainous region of Moravia) and by nature and traditions. There is always a great atmosphere at SCAN|SEN, where waitstaff entertain with their charm. Spanish tiles Vives adorn not only the kitchen but also the area around the bar and the restroom facilities.

“A GARDEN IS A ROOM WHERE IT CAN RAIN AND IT DOESN’T MATTER,” SAYS DANIELA WHILE GAZING INTO THE CHARMING COURTYARD ATTACHED TO THE RESTAURANT. THE BRICK WALLS RADIATE WARMTH, REMINDING US, UNDER A TREE IN THE MIDDLE OF THE CITY, WHO WE ARE.

POLLOCK NO BOLLOCKS BLUE SAUCER www.houseofrym.com € 16

CIRQUE PENDANT LAMP Louis Poulsen | www.scandinavia-design.fr | € 495

SERIF TV MEDIUM design Ronan & Erwan Bouroullec www.samsung.com | £ 6 997

STAY O N CO UR S E styling: Adéla Kudrnová | photo: company archives

WE BELIEVE THAT LAUGHTER, GOOD SPIRITS AND NOT TAKING THINGS TOO SERIOUSLY ARE THE INGREDIENTS TO IMMORTALITY. WE HAVE TAKEN THE TIME TO COMPILE SOME ITEMS THAT WE THINK WILL HAVE THE SAME EFFECT ON YOU AS THE ELIXIR OF LIFE.

SHELL BOWL design Rina Menardi www.conranshop.co.uk | £ 250

CONTROL TABLE LAMP design TAF Architects www.designville.cz | CZK 3 225

ALL PLASTIC CHAIR design Jasper Morrison www.vitra.com | Price upon request

MAJLISI CARPET www.maimana.cz CZK 20 200 38

KA VASE design Roman Šedina www.krehky.cz | Price upon request

R EC I PE Dreamy Dessert

D E SSE R T Á L A S C A N |S EN recipe: Michal Bambušek / restaurant SCAN|SEN text: Adéla Kudrnová | styling: SOFFA | photo: Lina Németh

IF OUR ARTICLE ABOUT THE NEW RESTAURANT SCAN|SEN HAS WET YOUR APPETITE, YOU CAN TRY ONE OF THEIR DREAMY DESSERTS IN A RECIPE PRESENTED BY THE KITCHEN GURU MICHAL BAMBUŠEK: APPLES AND PEARS COOKED IN HONEY SIRUP AND SERVED WITH A CALVADOS-FLAVOURED SPONGE, CARAMEL GEL AND VANILLA ICE CREAM. PUT ON YOUR CHEF’S HAT AND TRY IT OUT! OVERALL TIME: 48 hours (3 hours preparation) LEVEL OF DIFFICULTY: middle INGREDIENTS: APPLES AND PEARS 1 Granny Smith apple 1 butter pear 100g honey 100g water 2 cardamom pods Coffee crumble 100g flour 100g caster sugar 100g butter 30g cocoa 30g hazelnut kernels

DIRECTIONS: Core the apple and pear and cut both into eights. Remove the cardamom seeds from the pod and place them in a small pot with the water and honey. Cook the fruit pieces in the honey and cardamom syrup until soft but still firm. Remove the apple and pear from the syrup and cool quickly. Once cooled, bake the fruit pieces on a charcoal grill until golden. Mix the ingredients for the coffee crumble and bake at 160°C for approximately 15 minutes. Watch the hazelnut kernels to make sure they don’t get too brown. Let the mixture cool and then blend it into a fine crumble. Make a slightly dark caramel for the caramel gel. Once the caramel is made, mix the remaining water with the salt, small ►

CARAMEL GEL 340g water 150g sugar 4g agar 3g sea salt 1 small strong espresso 1 vanilla pod SPONGE WITH CALVADOS 70g egg whites 40g icing sugar 40g egg yolks 20g butter 19g finely ground flour 20ml calvados VANILLA ICE CREAM 250g full cream milk 250g cream - 35% 100g sugar 5 egg yolks 2–4 vanilla pods

espresso, vanilla seeds and agar. Bring the mixture to a boil, lower the temperature, and simmer for about a minute. Add the hot mixture to the caramel, mix well, strain, cool and then blend into a smooth gel. To make the sponge melt butter and mix it with the rest of the ingredients. Pour the mixture into a whipped cream dispenser and whip with two N2O cartridges. Shake the dispenser well, spray the foam into a narrow dish, and heat in the microwave for 50 seconds at 900W. Remove from the microwave and cut around the edges to remove the sponge. For the vanilla ice cream first make a pudding from the egg yolks, sugar, milk and vanilla pods. Remove the seeds from the pod but keep the empty pod for the pudding. Heat the mixture in a water bath at 82°C and keep it at this temperature while stirring constantly for 10 minutes. Cool the mixture, add the cream and let it sit in the refrigerator for 8 hours. Use the mixture to make ice cream in your ice cream maker. SERVING: Arrange the fruit on a dessert platter, add the gel, tear the sponge into pieces and scatter them about, and from the coffee crumble create a ‘nest’ for the ice cream. Scoop the ice cream into the nest. Enjoy and dream! ■

S O F FA & VO LVO Highline Act

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LU K ÁŠ ČE R NÝ A N D T H E VO LVO XC 9 0 partner for the article: Volvo | text: Sára Němečková | styling: SOFFA illustration: Marica Baranovič | photo: Adéla Havelková

VOLVOS ARE CONSIDERED PRIMARILY FAMILY CARS, BUT SLACKLINER LUKÁŠ ČERNÝ IS PROOF THAT EVEN A LUXURY CAR LIKE THE VOLVO XC90 CAN SUIT THE NEEDS OF BRAVE YOUNG ADVENTURERS. ANYONE WHO HAS EVER TRIED AN EXTREME SPORT KNOWS THAT ONE OF THE CHALLENGES YOU CONSTANTLY FACE IS HOW TO GET TO THE HARD TO REACH PLACES THAT MAKE EXTREME SPORTS EXTREME. IN HIS SEARCH FOR THE BEST SPOTS TO WALK HIS SLACKLINE AT GREAT HEIGHT – SO CALLED HIGHLINING - LUKÁŠ WOULD BE LOST WITHOUT HIS VOLVO XC90 AND ITS CAPACITY TO GET HIM TO PLACES HE COULDN’T REACH BEFORE. Lukáš Černý is a daredevil who loves to walk a slackline, a length of flat webbing tensioned between two anchors. You can walk a slackline at heights most people would not believe, but you can also walk it barely above ground, performing all sorts of acrobatic tricks. This offshoot of slacklining is called tricklining and Lukáš is one of the best Czech trickliners around. In fact, he and his colleague Michal Pírek have been jostling for annual champion titles of the Czech Trickline Cup for the past few years. Although slacklining started out as a pastime for the duo, it’s become their livelihood with the Slackshow, their unique trickline performance that gets featured at various events. Lukáš and Michal both love getting out into nature, where together with their friends they organise walking the highline – a slackrope strung at great heights. The thing they love the most about their highline adventures is walking the highline in places where no one has walked before. And when they do, their names are recorded in the annals of highlining as the discoverers of new trails. ►

Lukáš’ favourite sport often takes him to places an ordinary car won’t reach, and in those moments he is grateful for the many advantages of the Volvo XC90. One of the most appreciated features is the enormous stowage space that fits all the equipment and luggage Lukáš needs when travelling to international slacklining meets. When driving to far away places, often accessible only by dirt roads, the young slackliner can enjoy a smooth ride in the Swedish SUV, and with space for up to seven passengers, he can also take a few friends along. And because the sport provides more than enough adrenaline, in his car the young daredevil wants to feel 100% safe. Thanks to a wide range of supportive technologies called IntelliSafe, the Volvo XC90 has no need for adrenaline. Passenger safety is ensured with the safest cage structure available on the market and the advanced City Safety technology, which uses a series of sensors to analyse traffic around the car, and either alerts Lukáš to a possible collision or takes over if he is unable to react. The console is dominated by an adaptive touchscreen panel similar to a tablet, which allows Lukáš to control most of the main functions of the car – from the air conditioning equipped with multiple filters, which purify the air inside the cabin from harmful particles, to the navigation system and the state of the art Bowers & Wilkins surround sound system with 19 speakers. With the windows rolled down and volume up, his car trips are like real road movies. While it might be hard to imagine that a young athlete may want more from the Volvo XC90, Lukáš can think of at least one feature that would be priceless for his profession. He would love for a telescopic rack to live in the boot of the Volvo that would enable him to stretch a slackline pretty much anywhere. When needed, the adjustable rack would rest on the ground and get attached to the chassis. One end of a slackline would be tied to the rack and the other to an existing anchor point way out in the distance. To help you get the picture of Lukáš’ improvement on the Volvo XC90, we have asked the illustrator Marica Baranovič to draw it for us. ■ For more information go to: www.slackshow.com and www.volvocars.cz

W I N A M AT T & N AT H A N D BAG FRO M U RBA N LU X!

Win a stylish Matt&Nat handbag of your choice valued at CZK 5 000. Write to us at info@soffamag.com (subject: Matt&Nat) to tell us to which summer event you would like to take your Matt&Nat handbag and why. The most interesting response wins! For complete contest rules go to www.soffamag.com More at www.urbanlux.cz

F IL M PER S O N A L I T I ES & Å½ilka Optik Studio

GL ASSE S WH ER EV ER YO U LO O K partner for the article: Žilka Optik Studio text: Helena Stiessová and Filip Žilka | styling: SOFFA & Michaela Roubínková make-up: Aleksandra Sidorina | hair: Tomáš Koblása | photo: Adéla Havelková

EYES – OUR WINDOW TO THE SOUL. DO GLASSES CREATE A BARRIER BETWEEN OUR EYES AND THE WORLD OR DO THEY PUT OUR SOUL ON DISPLAY? FOR PEOPLE WHO WEAR THEM, GLASSES CAN BE A FASHION STATEMENT, A MINOR BOTHER, OR A NECESSARY BURDEN. BUT THERE ARE SOME WHO HAVE TRANSFORMED THIS PRACTICAL TOOL INTO SOMETHING THAT HELPS TO DEFINE WHO THEY ARE. IF YOU THINK WE ARE EXAGGERATING, THEN COME WITH US ON AN EYEWEAR JOURNEY. MODELLED BY PERSONALITIES FROM THE WORLD OF FILM, IN THIS PHOTOESSAY GLASSES HAVE THE LAST WORD. Until recently glasses were closely linked to various stereotypes and cliches. This is peculiar, as at the time of their invention glasses were considered by their very nature a symbol of clarity of thought, a tool that could help both the eye and the mind to see things how they truly are. But as we know, not all glasses have this effect. Some are too ‘rosecoloured’ or ‘delude with malintent’, as suggested by the 17th century Czech philosopher and educator Jan Amos Comenius. With the development of the printing press, reading and other joys of civilisation, glasses became weightier, and suddenly the symbol of clear thought became a stereotyping burden – a sign of a bookworm or a nerd. Thankfully glasses have survived their undeserving ill repute and are beginning to return to their rightful day in the sun. There are those who could speak about glasses with great passion, and one of them is the founder and owner of an optics studio in Prague’s Vinohrady, Filip Žilka. This is no ordinary optician... ►

TO ME WORKING WITH EYEWEAR MEANS WORKING WITH PEOPLE AND THEIR PERSONALITIES. SIGHT IS THE MOST VALUABLE OF OUR SENSES. TO SEE CLEARLY, SHARPLY, IN COLOUR AND IN THREE-DIMENSIONS IS ESSENTIAL FOR OUR BASIC COMFORT. IN THIS REGARD OPTOMETRY IS VITAL, AS YOU ARE PROVIDING SOMETHING VERY VALUABLE. AND WE HAVE BROADENED THIS SERVICE TO INCLUDE AN EQUALLY IMPORTANT ELEMENT: DESIGN. IN OUR OPTOMETRY STUDIO, DESIGN REPRESENTS A PERSONALITY. WE DELIGHT IN USING OUR UNIQUE FORMULA TO MARRY THE RIGHT DESIGN OF EYEWEAR WITH A PERSON’S CHARACTER. AFTER ALL, WELL CHOSEN GLASSES UNDERSTAND YOU AND YOU UNDERSTAND THEM. OUR FRAMEWORK TEN FACES OF PERSONALITY HELPS OUR CLIENTS FIND THE RIGHT FORMULA TO EXPRESS THEMSELVES THROUGH THEIR EYEWEAR, TO RESPOND TO ALL OF THE ASPECTS OF THEIR ‘I’. THAT’S WHY WE HAVE WORKED WITH STANDA MAJER ON THE ADVERTISING CONCEPT “ONLY WITH ALL OF YOUR ‘I’S’ WILL YOU BE YOUR WHOLE YOU.” TO LIVE YOUR TRUE EMOTION MEANS TO LIVE WITHOUT OVERSTATEMENT. THE SAME EXISTS BETWEEN AN ACTOR AND AN AUDIENCE. AN ACTOR MOVES YOU BUT IS AT THE SAME TIME MOVED BY THE EXPERIENCE, AN EXPERIENCE THAT IS AT ONCE INTIMATE BUT ALSO VERY PUBLIC. WE LOOK FOR THIS HARMONY IN THE SELECTION OF EYEWEAR, AND ACTING HAS BEEN A GREAT INSPIRATION. ■ FILIP ŽILKA | WWW.ZILKASTUDIO.CZ

JA K U B Ž ÁČE K HE ENTERED AND DAZZLED. THE ACTOR JAKUB ŽÁČEK CAME TO THE PHOTO SHOOT IN HIS OWN GLASSES AND ACCEPTED THE COMPLIMENTS THAT CAME FROM ALL SIDES HAPPILY, SOMEWHAT SHYLY, BUT ALSO KNOWINGLY. HE WASN’T HEARING THEM FOR THE FIRST TIME. Jakub has been wearing glasses for a short time, and he already knows what it is like when your glasses don’t fit, not only aesthetically but also optically. It took a meeting with Žilka Optik Studio to set things right. At first he was a bit sceptical about wearing striking glasses with two-toned frames, but he was soon right at home in them. And it is hard not to see why, when he himself quickly noted that strangers on the street were suddenly much kinder. But this marvellous result is surely not a side effect of the beautiful frames, for you can see a charming man at first glance - the glasses are simply an aid to the dimwits among us. When Jakub enters the stage or goes in front of the camera, he puts his glasses aside, as each role requires its own character. For example, the small town mayor from Krušné hory whom Jakub plays in the mysterious comedy Schmitke, directed by Štěpán Altrichter, would definitely not wear glasses. After the photo shoot Jakub had to rush off to catch a train to Olomouc, the venue for the theatre festival Flora. There he was performing in Hamleti [Hamlets] with his home troupe from Prague’s Divadlo Na zábradlí [Theatre on the Balustrade]. As he himself says, his engagement with Divadlo Na zábradlí is a dream come true. His working trips across the Czech Republic also provide opportunities for repeat performances from the stand-up comedy show Na stojáka [While standing]. His most favourite activity is heading north of Prague towards the mysterious foothills of Jizerské hory, where he can find peace and quiet at his cottage retreat.

Glasses from the collection L.A. Eyeworks: this style presents as youthful, funny, selfdeprecating yet not infantile. Very apt at creating a personality. www.zilkastudio.cz

MI L ADA T Ě ŠIT ELOVÁ THE LOVELY MILADA ARRIVED AT THE PHOTO SHOOT TOGETHER WITH JAN [TĚŠITEL] AND A WELL-BEHAVED BABY IN A PRAM. SHE ADMITTED THAT HER GLASSES HAVE BEEN SITTING AT HOME FOR SIX MONTHS WITH A BROKEN END PIECE. Milada has fond memories of her first pair of red-framed glasses and thinks that glasses suit her casual style. We chose for her frames that radiate with the jubilant colour of summer, just like Milada’s dress. And how do they go with her dark comics series bleakly named Mor [Plague], or the morbidly scary stories published by Argo earlier this year? She smiles and says that they go together splendidly. And she does it with the charm of a woman in a sepia-coloured postcard from the 19th century. Milada enjoys writing. The three-part comics story about siblings, their mean father and a plague epidemic was born out of an interdisciplinary student collaboration with illustrator Petra Josefína Stibitzová. Thanks to the support of the publisher Lipnik the first part of the story has already been published, while the next two parts are currently in production. In bookstores you will find not only the first part of Mor, but also her story book Kočky and other frightening stories, published under her first surname Mašinová. But Milada is also keeping an eye on her original love of screenwriting, as she is currently working on a film, exploring ideas for a television series, and also collaborating with the children’s television channel Déčko. It is a big workload, but somehow we think that the young author is going to manage it with ease and elegance.

Glasses from the Mykita collection: this style presents as very casual and is inspired by natural horn texture. www.zilkastudio.cz

LUBO MÍR KO NEČ N Ý PRODUCER LUBOMÍR KONEČNÝ IS A TALL, DISTINGUISHED MAN WITH GLASSES THAT ONLY FEW COULD WEAR. AND HE WEARS THEM WONDERFULLY. THEY ANNOUNCE THE ARRIVAL OF A CONNOISSEUR WHO HAS AN INSTINCT FOR WHAT WILL WORK. Lubomír is where he belongs. After years of independent production work, he joined the production centre of the legendary Barrandov Studio a year ago. There he leads a department that oversees not only co-production on film projects, but also active development of new material together with Czech and international creators. When prodded, he let on that they are working on three such projects concurrently, but to learn more we must wait for the curtain to open on this year’s film festival in Karlovy Vary. According to Lubomír, Barrandov is opening its doors to the wider world and in spite of competition from nearby film studios, interest in Barrandov is high. This is helped not only by newly introduced incentives, but also Barrandov’s stellar reputation and professionalism, which are highly regarded by film crews from all corners of the globe. Lubomír’s greatest dream is to see the rise of Czech cinema, for which the industry is well poised. The recent courageous debuts by young directors like Jan Těšitel, featured with Lindberg glasses, or Štěpán Altrichter, mentioned elsewhere in this article, show great promise. And time will tell how Václav Kadrnka’s poetic Křižáček [Little Crusader], which is currently keeping Lubomír very busy, is going to fare. The eyes framed by his unique glasses would love to see it premiered at a famous European film festival. We are keeping our fingers crossed!

These glasses have the tried and tested colour of a strong personality and say, quite candidly: “You don’t have to like me, so long as you understand me!”

YASM IN K E SHM I R I H EJ DU K CAN MERMAIDS WEAR GLASSES? YASMIN KESHMIRI HEJDUK POSSESSES BOTH AN UNUSUAL DELICACY AND A MYTHOLOGICAL FORCE. SHE IS LIKE A CURRENT THAT WILL SWEEP YOU ALONG, WHETHER SHE IS DEALING WITH FILM OR SOMETHING DIFFERENT ALTOGETHER. Yasmin wears her red frame glasses only rarely, as she is so physically active that she can’t manage without contact lenses. Her beginnings in the world of film were also physically demanding. Originally from Iran, Yasmin started out in film when she was still living in the UK. As is the norm, she started at the bottom of the film industry ladder, in a position aptly named the ‘runner’. The position asks you to be anything that is needed at a given moment, and for Yasmin this meant a lot of running and adventures. After all, carrying film reels in the middle of the night across the then notorious London Soho district was not for the faint-hearted. As far as ‘film schools’ go this work was priceless, and it was not long before Yasmin swam into the waters of film production. This current brought her to the Czech Republic, where she has lived since 2002 with her husband, the producer Filip Hejduk. Film as a creative medium is her first love, even if she is no longer active in the field. Her enthusiasm and creativity find outlets in other creative endeavours, and we are very pleased and proud that this year she became SOFFA’s creative editor. Being behind the scenes of a magazine is in many ways similar to film production; without good ideas, communication, improvisation and super colleagues you won’t get very far. Thanks Yasmin!

Glasses from the Mykita Mylon collection: this style feels like a combination of wood and leather to touch, but is actually made of synthetic material. These glasses are all about colour. www.zilkastudio.cz

JA N T Ě ŠIT E L THE YOUNG DIRECTOR JAN TĚŠITEL WEARS GLASSES THAT INSPIRE QUIET RESPECT. AS BEFITS HIM. THE GLASSES WERE ALSO DESIGNED SO THEY COULD BE REMOVED QUICKLY FOR DRAMATIC EFFECT, LIKE WHEN THE DIRECTOR NEEDS TO RUB HIS EYES IN A MOMENT OF DEEP THOUGHT. A significant portion of the population wears glasses, so it is no surprise that there are some famous film directors whom you would not recognise without their glasses. Although Jan may not be very famous, his 2015 debut feature David is a very promising entry onto the film scene. The story is of a young man with mental health issues who escapes from his parents and journeys to a big city. The impressive film avoids a pleasant cinematic narrative and makes the audience work hard. Just how we like it! Currently Jan is working on a psychological thriller and it is quite logical to assume that it will be something dark and chilling. To lighten up his career, Jan also works in television, where he is involved in children’s programming and the popular travel programme Bedekr, which is taking him to sweet France. But his greatest joy is looking after his little son who was recently born. Plans and ideas abound for Jan, including the filming of the comics series Mor, created by his screenwriter wife Milada. So far they have put together a trailer for Mor, which is most definitely chilling.

Glasses from the Lindberg collection: this style presents as pragmatic, with a clever ergonomic design and a subtle understatement. www.zilkastudio.cz

HE NR ICH BO R Á RO S THE SET DESIGNER HENRICH BORÁROS ARRIVES TO THE PHOTO SHOOT AS A SAILOR AND A COWBOY ALL IN ONE. HE DOESN’T SAY MUCH. HIS ACTIONS TALK LOUDER THAN WORDS. SO DO HIS TATTOOS, HIS HAT, HIS GLASSES, AND MOST OF ALL HIS WORK AN IMPRESSIVE PORTFOLIO FIT FOR A CREW. When it comes to discussing his field, the versatile artist born in Slovakia opens up a bit. Although he comes from a family of theatre professionals, it took him a while to understand that set design in its various guises was meant for him. Henrich’s journey of discovery was also helped by his wife and collaborator Linda, herself a set and costume designer, with whom he founded studio +boraros in 2005. Set designers are often described as Renaissance men/women, and Henrich Boráros fits this description to the ‘T’. He created a very distinct look for the highly praised theatre production Vojcek [Woyzeck] in the Vinohrady Theatre as well as Kabaret Kafka [Kafka’s Cabaret], both directed by his favourite theatre director Daniel Špinar. And then there is his design for the play Ze života hmyzu [Pictures from the lives of insects], also directed by Daniel Špinar and performed at the National Theatre. According to Henrich, work in theatre - a living organism - requires a lot of care and love. This is different from work in film or advertising, which is more defined. But even here you find daring and reckless projects that rock the boat and don’t let the audience rest. One of these was the 2009 highly acclaimed film Alois Nebel under the debut direction of Tomáš Luňák, which took five long years to create using the time consuming technique of rotoscoping. Boundaries are there to be crossed, and it is behind the boundaries that Henrich most likes to build his visual worlds.

“Why not wear glasses that are cool and black when I’m a big dude”.

A LE Š NAJ BR T PUT THE CAMERA AWAY! ALEŠ NAJBRT, THE SHINING STAR OF THE CZECH GRAPHIC DESIGN SCENE LOOKS LIKE HE IS HIDING FROM THE PAPARAZZI, WHO HAVE FOUND HIM WHEN HE DIDN’T WANT TO BE DISTURBED. OR IS HE TRYING TO SAY SOMETHING ELSE? One moment an entertainer, next a well-regarded personality in a field deserving of respect. Aleš Najbrt is a man of many faces, and when the Žilka optometric personality scale indicates without any hesitation that he is both a joker and a pragmatist, it appears to fit. And it seems appropriate that for these two apparently opposed personalities you need only one pair of glasses. Aleš is half covering his glasses, as if he has just stepped out of this year’s poster series for the Karlovy Vary International Film Festival. He took a slightly provocative approach when designing the poster series for the 51st edition of the famous film festival. A retro black and white graphic resembling celebrity photos taken by a paparazzi which stir up feelings of inappropriate and seductive intimacy. The photographer behind the excellent photographs, which mock our desire for fame at all cost, is Václav Jirásek. The cult festival has been synonymous with hyperbole and outstanding quality since 1993, when Jiří Bartoška took over the helm. Two years later he entrusted the festival’s visual communication to Aleš’ Studio Najbrt, and it was love at first sight. The Studio and the Festival understand each other completely, and Aleš takes the relationship very seriously. The Festival has blossomed over the years, and today Studio Najbrt deals mostly with the question of how to create advertisement for something that doesn’t need to be advertised. Aleš’ team seems to have a knack for special commissions, as the name Studio Najbrt is also attributed to the logo of the Czech Republic and the current visual communication for the Czech Philharmonic, among many others.

Glasses from the collection L.A. Eyeworks: this style features a metal component with a graphic pattern set into plastic the colour of dark wine. A rare chilli praline. www.zilkastudio.cz

O N O F F ER Karlovy Vary

F E ST IVA L O F PL AC ES text: Hana Švolbová and Vítězslav Danda | styling: SOFFA photo: Adéla Havelková

IN THE CZECH REPUBLIC EARLY JULY IS INEXTRICABLY LINKED TO THE KARLOVY VARY INTERNATIONAL FILM FESTIVAL (KVIFF). EXACTLY 70 YEARS AGO THE STUNNING SPA TOWN HOSTED ENTHUSIASTS OF CULTIVATED CINEMA FOR THE FIRST TIME, AND FANS HAVE BEEN RETURNING EVER SINCE. IN ADDITION TO THE FESTIVAL ATMOSPHERE, KARLOVY VARY AND ITS SURROUNDINGS OFFER MANY OTHER WONDERFUL EXPERIENCES. DURING YOUR UPCOMING VISIT BE INSPIRED TO STROLL THROUGH NEARBY NATURAL AREAS AND EXPLORE ARCHITECTURAL POINTS OF INTEREST. This year Karlovy Vary celebrates two important anniversaries – 700 years since the birth of the town’s founder, the Holy Roman Emperor and Czech King Charles IV, and 70 years since the town hosted its first international film festival. It is interesting to note that although the festival has always been named after Karlovy Vary, at first it was held primarily in the nearby spa town of Mariánské Lázně. And if you are confused by the order number of this year’s programme, do not despair. The discrepancy in numbers has to do with the fact that for over three decades the Karlovy Vary film festival had to alternate with the Moscow film festival. The local film festival is renowned for the large numbers of film aficionados who descend on this beautiful town and connect with many great filmmakers, enjoy the parks around the central festival point – the hotel Thermal, and fill the town for one whole week with their infectious enthusiasm. But Karlovy Vary offers more than film screenings and the accompanying festival programme. To help you get ‘in the know’, we present some well-known as well as secret tips for what to sample in Karlovy Vary and its surroundings between film screenings. ►

JIMLĂ?KOV kaolin mine, swimming www.kdesekoupat.cz

Swimming in the now disused kaolin mine near the village JimlĂkov is almost compulsory for any visitor to the Karlovy Vary film festival. The scene on the access road resembles a freaky sci-fi film set, with bodies wrapped in white kaolin mud wandering among cars against the backdrop of yellow sand dunes and crystal clear waters.

MARKET COLONNADE www.karlovy-vary.cz architects: Ferdinand Fellner and Hermann Helmer

With the 700-year anniversary celebrations of the birth of the Roman Emperor and Czech King Charles IV, we cannot omit the romantic complex of the Market colonnade, which shelters the first known spring of healing waters in Karlovy Vary. The colonnade complex was designed by the Viennese architectural duo Ferdinand Fellner and Hermann Helmer, who are responsible for several other important buildings in Karlovy Vary. The colonnade was initially built as a temporary cover for the two springs, and having served this function for more than one hundred years, the town decided to preserve and completely renovate the beautiful structure.

GRANDHOTEL PUPP Mírové náměstí 2 www.pupp.cz architects: Ferdinand Fellner and Hermann Helmer

The history of the famous hotel goes back to the early 18th century, but we know the current version from a renovation that took place in the early 1900s. The Grandhotel can take pride in a clientele unmatched in the Czech Republic: Johann Sebastian Bach, Ludwig van Beethoven, the Russian Tsar Peter the Great, the Austrian Empress Maria Theresa, King of the United Kingdom Edward VII, King of Spain Juan Carlos, King of Norway Harald V, Otto von Bismarck, Napoleon Bonaparte, Karl Marx, Franz Kafka, Giacomo Casanova, Jurij Gagarin, Jaromír Jágr, Claudia Cardinale, Antonio Banderas, Renée Zellweger, John Travolta and many, many others. What a list!

APOTHEOSIS OF THE POETIC ARTS – CURTAIN OF THE KARLOVY VARY CITY THEATRE Divadelní náměstí 21 www.karlovarske-divadlo.cz painters: Gustav Klimt, Ernst Klimt, Franz Matsche

The iconic painted curtain of the Karlovy Vary City Theatre is the imaginative ‘cherry on the cake’ of the splendid pseudo-Rococo theatre from the architect duo Ferdinand Fellner and Hermann Helmer. For the Klimt brothers and their colleague Franz Matsche this was not the first collaboration with the architects, having worked together on several other theatres across Europe. The hand-painted curtain, called the Apotheosis of the poetic arts, is among the most beautiful in Europe. The painting depicts a seated poet surrounded by beautiful women, and includes the Klimt brothers’ sisters as the three muses. The painters themselves are shown as the Renaissance musicians in the lower right corner.

REPUBLICA COFFEE T.G. Masaryka 894/28 www.facebook.com/ Republica-Coffee-cz-1376768622563966

In the centre of Karlovy Vary you can sip fresh roasted coffee or enjoy scrumptious homemade desserts at Republica Coffee. This café became a hit with the visitors to the 49th KVIFF, and it continues to keep its high standards. While you are looked after by pleasant baristas you can sip your coffee in the charming interior or in the summer garden. It is a decidedly exceptional café in a spa town accustomed to rather standard food and drink establishments.

UMMAGUMMA HOUSE Karlovy Vary – Stará Role www.a69.cz family residence built in M.C. Escher style architects: A69 architekti

Ummagumma house is named after Pink Floyd’s experimental double album released in 1969, the same year the three founders of the architectural studio A69 were born. A rare example of quality modern architecture in Karlovy Vary, Ummagumma house stands in stark contrast to the other houses in a typical Czech development at the edge of town. It was exactly this context that led the architects to design an introverted house with several inner atriums hidden behind a massive, partially perforated wall. The snow-white structure, surrounded by catalogue-style homes in various shades of ice cream, won the Grand Prix 2014 - National Architecture Award Honourable Mention.

FUNICULAR TRIP TO THE LOOKOUT TOWER DIANA Nástupní stanice Stará louka, Mariánská 319/4 www.dpkv.cz/cz/lanova-draha-diana

The lookout tower Diana, which stretches over the Grandhotel Pupp, presents the charming spa town as if in the palm of one’s hand, and on a good weather day you can see as far as 70 km away. To reach the lookout tower you can travel on the old-fashioned funicular from 1912, though the Polish-built cars are much more recent – from the 1980s. The lookout point is at the centre of a well-maintained web of shaded trails with small shelters and resting points; the trails will take you back to the centre of festival action.

KARLOVY VARY AIRPORT K Letišti, 132, Olšová Vrata www.airport-k-vary.cz architect: Fa Parolli

In the Czech Republic transport building projects have not been very successful in the past few decades, as most are very expensive and not very imaginative. But the new terminal of the Karlovy Vary airport by architect Petr Parolka is a pleasant exception. The organic shape of the terminal hall, inspired by the design of a jet engine, offers a unique solution to the growing volume of travellers arriving at the Karlovy Vary airport. Why not arrive for this year’s KVIFF through this impressive gateway to the city?

INDIAN RESTAURANT TANDOOR I. P. Pavlova 25 www.tandoor-kv.cz Those who don’t know about this hidden restaurant may have a difficult time finding it in a courtyard set between residential buildings. The simple interior promises no special atmosphere, but this is quickly outweighed by abundant servings of tasty Indian dishes prepared by Indian chefs. In smaller Czech towns this is still a rarity. GAME RESERVE ST. LINHART Linhart, Karlovy Vary www.karlovyvary.cz

SVATOŠSKÉ SKÁLY [ROCKS] www.karlovyvary.cz

About 2.5 km outside the city centre on 70 hectares of woodland is a game reserve where you can watch woodland animals literally from above. Wooden walkways that climb to the height of six metres allow you to observe fallow deer and wild boar through the tree tops. There is a walkway along a system of ponds and a tree top walk at an elevation of 15 metres. Buildings of the former restaurant Linhart are currently being transformed into a visitor centre.

Against the flow of the river Ohře, on the way to the quaint town of Loket, the stunning scenery of Svatošské skály will delight cyclists, walkers and river sport lovers alike. Granite formations carved by the river are veiled in many secrets, one legend claiming that they are a wedding procession turned to stone. Near the rocks you will find two restaurants and a suspension bridge over the river Ohře. Svatošské skály also offer excellent locations for rock climbing.

BIKE WANDERS

THE LOOKOUT OF CHARLES IV www.karlovyvary.cz

Karlovy Vary is situated in a beautiful area at the foot of Slavkovský les [woodland] and Krušné hory [Ore Mountains]. It offers many cycling opportunities,

both for holiday cyclists and for cyclists who are more advanced: a bucolic ride through the town, a pedal hike along spa tracks into the hills, or a fast run along the river Ohře. If you can steal yourself away from an afternoon film screening, you can take a longer ride along the bike path Ohře, which starts at the river source in neighbouring Bavaria and extends all the way to Louny. During the festival you can use the services of E-Bikes Tour Karlovy Vary, and ride through the town or the surrounds on an electric bike, with a guide if you like.

The oldest preserved lookout in Karlovy Vary will bring to mind the 700-year anniversary of the town founder’s birth,

though it was named after him only after the Second World War. The lookout was built in the shape of a minaret and has always been a favourite among spa guests. You can reach it by a pleasant walk from the Diana funicular stop named Jelení skok. ANDĚLSKÁ HORA [ANGEL MOUNTAIN] www.andelskahora.cz The ruin of a gothic 14th century castle towers on a lonely rocky outcrop over a village of the same name. There are several legends connected to the castle,

including a great mystery about the depth of the castle well. A climb up to the ruins will reward you with a beautiful view of the surrounding area. GEORGIAN RESTAURANT PIROSMANI Kolmá 56 www.pirosmani.cz Glamorous interior, the famous hospitality of the Caucasus, Georgian cuisine and wine – you will find it all in the Georgian Restaurant Pirosmani in the centre of Karlovy Vary. ■

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S O F FA GU ID E A N D G A M E: K A R LOV Y VARY FAM O US A N D H I DDEN text: Adéla Kudrnová | illustration: Lenka Hlaváčová

IN THE PREVIOUS PAGES WE REVEALED SOME HIDDEN AND UNUSUAL PLACES YOU CAN VISIT DURING BREAKS BETWEEN SCREENINGS AT THIS YEAR’S KVIFF. DISCOVER THEM WITH US AND WIN A SOFFA FILM KIT!

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GAME RULES: Visit at least five of the places listed in our article (you will find a complete list on the back of this sheet). Take a photo at each place and send it via email to info@soffamag.com (subject: KVIFF). We will publish the best photos on our social networks with the hashtag #soffa&film, together with your credits. The ten most beautiful photos will win a SOFFA film kit.

S AV E WATE R . DR I N K C H A M PAG N E. IT IS IMPORTANT TO KEEP YOUR LIQUIDS UP DURING A SUMMER FESTIVAL, BUT THE ATMOSPHERE OF THE KARLOVY VARY INTERNATIONAL FILM FESTIVAL CALLS FOR MORE THAN JUST WATER! WITH THE MOËT & CHANDON MAP YOU WILL EASILY FIND YOUR WAY TO THE NEXT REFRESHMENT VENUE, WHERE YOU CAN QUENCH YOUR THIRST IN THE STYLE OF THE MOVIE STARS. SEVEN DIFFERENT LOCATIONS, EACH WITH A DIFFERENT REFRESHMENT EXPERIENCE FOR FESTIVAL VISITORS. ALL YOU NEED TO DO IS FOLLOW THE MAP AND DECIDE WHETHER TO TASTE THE UNMATCHED MOËT & CHANDON GRAND VINTAGE 2006 OR THE ICED MOËT ICE IMPÉRIAL.

#MoetMomentka www.facebook.com/moetchandoncz

WIN A REBUS VASE FROM DELAST! Win a designer concrete vase from the new Rebus collection by Delast Design. Write to us at info@soffamag.com (subject: Rebus) to tell us which Delast product has caught your attention the most and why. The most interesting response wins! More at www.delastdesign.com For complete contest rules go to www.soffamag.com

#CULTURE #NATURE #SUSTAINABILITY @swedeninczechia

lfi ÂŠTomas Utsi/imagebank.sweden.se

F I L M & FA S H I O N Phenomena that Click

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HO L LY WO O D A B OV E PR AG U E text: Sára Němečková | styling: Michaela Roubínková make-up: Aleksandra Sidorina | hair: Tomáš Koblása | model: Hana Vagnerová photo: Adéla Havelková

RIGHT FROM ITS CREATION IN THE EARLY 1930S THE BARRANDOV FILM STUDIO HAS LURED FILMMAKERS FROM ALL AROUND THE WORLD. IT IS NOT ONLY THE TOP CRAFTSPEOPLE WORKING IN THE LOCAL WORKSHOPS, THE HIGH-QUALITY MODERN EQUIPMENT OR THE SPACIOUS STUDIOS THAT CONTRIBUTE TO BARRANDOV’S POPULARITY, IT IS ALSO THE INCOMPARABLE ‘GENIUS LOCI’ WHICH EXUDES THE CREATIVE ATMOSPHERE OF THE GOLDEN YEARS OF CZECH CINEMA. DISCOVER ITS HIDDEN CORNERS AND MANY ICONIC PLACES WITH THE ACTRESS HANA VAGNEROVÁ. The most famous image of Barrandov Studio is the silhouette of the Functionalist main building. The creator of the 1930s building was the architect Max Urban who modelled the shape of the building to resemble the mythical Phoenix about to take flight. Among the many studios found in Barrandov the most favoured studio is also one of the oldest – the wooden studio 4, known as ‘The Clog’. Built during 1943-44, the studio was used to make German films until the end of the Second World War. After the war Czech filmmakers returned and The Clog has remained Barrandov’s location of choice to this day. It is here that many Czech film legends began their careers, including Vlasta Burian, Oldřich Nový, Adina Mandlová and Lída Baarová. ► MAIN BUILDING The dominant feature of the main Functionalist building is a tall tower which at the time of the founding of the film studios served as a fire prevention water tank. This was necessary as the high elevation of the studio made it impossible to get water from elsewhere in case the highly flammable film stock caught fire.

THE CLOG | The wooden building of studio 4 was designed by the Berlin architect Hans Klüpperberg, who had experience with designing similar buildings in Germany. The carpentry work was done by the Czech firm Kunz, and their skill and craft ensure that even today the studio can hold its own among more modern facilities. Shirt, stylist’s own Silk skirt, Jana Minaříková Shoes, model’s own

HALLWAY | The Barrandov complex hides 13 soundproof studios covering 13,000 m2 (four of the studios are located in Hostivař, a neighbourhood of Prague). In addition Barrandov offers 160,000 m2 of external grounds, which see the creation of various movable sets for additional filming projects. Shirt and shorts TIQE, Petra Balvínová

WORKSHOPS | An inseparable part of Barrandov is the vast complex of workshops, which give birth to various sets and decorative elements that are custom made for specific projects, mostly by hand. Here you will find workshops of plasterers, metalsmiths and carpenters. Shirt and shorts TIQE, Petra BalvĂnovĂĄ

Dress, H&M, Trainers, model’s own Sunglasses Yohji Yamamoto, Žilka Optik Studio Pumps, Barrandov Studios collections STUDIO 6 | The Barrandov New Halls, built during the Nazi occupation, are home to studios 5, 6 and 7. When wandering through these individual studios one feels as if transported to the largest studios in Hollywood.

Barrandov Studio was established in 1931 and in this time was considered one of the most modern film studios in the world. Perched on a hill on the edge of Prague, Barrandov produced a number of films in the 1930s that have entered the annals of cinematic history. During the Nazi occupation the studios fell under the control of the German forces and after the war they were managed by the Czechoslovak state. The 1990s saw Barrandov Studio privatised and today it is owned by the company Moravia Steel. During Barrandov’s 85-year existence the complex has facilitated the creation of more than 2,500 Czech and foreign films, made directly by Barrandov Studio or at least in part, be it through the Film foundation for the support of screenwriting or through co-production projects. This is how the recently released film Já, Olga Hepnarová (I, Olga Hepnarova) was created, for example. The film premiered at this year’s Berlinale, where it opened the festival section Panorama. The Barrandov Studio brand is well regarded the world over and international filmmakers love the opportunity to work there. This is not only thanks to the favourable location in the heart of Europe and the proximity to the Czech Republic’s capital, but also thanks to a wide array of services: complex production services, hundreds of skilled craftsmen and women, and extensive collections of costumes and props. Indeed, the Barrandov collections are the largest of their kind in Europe, offering filmmakers the choice of more than 350,000 unique items. The founders of Barrandov Studio wished for the complex to become one of the most sought after film production centres in the world. The fact that the flagpoles on the main building rarely fly only the Czech flag is testimony that their dream is being realised to this day. ■ We thank Hanka Vagnerová and Jakub Zíka for their help with the writing of this article.

COLLECTIONS | The Barrandov collections offer costumes and props from all historical periods and all parts of the globe, and their Renaissance collections of props, furniture and costumes are particularly unique. If you need something very special or different, the highly skilled staff of the costume department are able to meet any kind of request. Dress, H&M, Glasses, stylistâ&#x20AC;&#x2122;s own Bra Pernowka, Manufaktura Shirt, stylistâ&#x20AC;&#x2122;s own

CZEC H A N I M AT I O N Gene Deitch & Večerníček

AN ANIM ATO R I N LOV E text: Martin Sova | illustration: Jiří Trnka for Gene Deitch

PEOPLE WHO HAVE PLANTED ROOTS IN ANOTHER COUNTRY TEND TO HAVE INTERESTING LIFE STORIES, BUT EVEN AMONG THESE SOME STORIES ARE MORE INTERESTING THAN OTHERS. FOR EXAMPLE, WHEN A STORY INVOLVES AN OSCAR AWARD AND TWO MORE NOMINATIONS, AND A VOLUNTARY MOVE FROM AN AFFLUENT DEMOCRATIC COUNTRY, WHERE ONE HAS A WELL ESTABLISHED CAREER, TO A SOCIALIST COUNTRY OTHERS WOULD ESCAPE. THE ANIMATED FILM DIRECTOR GENE DEITCH HAS ONE SUCH NOTABLE STORY. DEITCH LEFT A SUCCESSFUL CREATIVE LIFE IN THE USA IN THE 1960S, WHICH INCLUDED WORK ON THE ANIMATED CARTOON SERIES TOM AND JERRY AND POPEYE THE SAILOR, TO FOLLOW HIS HEART. HE WAS AT FIRST SENT TO THE FORMER CZECHOSLOVAKIA BY HIS EMPLOYER TO DIRECT FILMS FOR THE AMERICAN MARKET IN COLLABORATION WITH THE HIGHLY SKILLED BUT CHEAPER CZECH ANIMATORS WORKING AT THE BRATŘI V TRIKU (BROTHERS IN T-SHIRT) ANIMATED FILM STUDIO. THERE HE ENCOUNTERED NOT ONLY MANY TRAPS LAID BY THE FORMER REGIME, BUT ALSO MANY NEW FRIENDS AND TALENTED CREATIVE SPIRITS. THESE CONNECTIONS HELPED HIM SETTLE IN PRAGUE AND MAKE HIS OWN FILMS, FOR WHICH HE RECEIVED NUMEROUS ACCOLADES. THE 92-YEAR OLD INDOMITABLE OPTIMIST MET WITH SOFFA TO SHARE THE STORIES OF HIS EXTRAORDINARY LIFE, WHICH HAVE BEEN CAPTURED IN HIS MEMOIR CALLED FOR THE LOVE OF PRAGUE. ►

YOUR MEMOIR RECOUNTS YOUR ‘SECOND LIFE’ AFTER YOU STARTED WORKING AND LIVING IN CZECHOSLOVAKIA, BUT IT IS ALSO A LOVE STORY. WHEN DID YOU REALISE YOU WERE IN LOVE WITH ZDENKA? Zdenka was amazing at her first words; a tiny woman totally in charge, speaking imaginary English with full confidence. Though not a sexbomb, she projected beauty with high-voltage charm. Added to this was her authority and seemingly unlimited energy. She got things done. I simply fell madly in love with her as a magical woman, and also as a complete partner. The very fact that she rarely agreed with my ideas, which she often thought were insane. She never fawned over me, as many of the other gorgeous women in the studio attempted. Zdenka in no way cowed to a high-assed American who ‘must be right’; I had to prove and explain why I was right. The fact that I was the ‘famous American director’ representing the client, whose word was the law, had no influence on her! I actually loved that about her. She forced me to be right! WHICH OF YOUR CZECH COLLEAGUES DO YOU ADMIRE? The Bratři v triku studio was made up of 300 sharp professionals. They all knew their job and worked hard at it. There were many true geniuses, professionals who knew how to draw and how to animate. Many Czech animators contributed greatly to my films once they understood what I wanted. I often drew for them detailed key poses, and they skilfully added life. My two long-term leading animators were Zdeněk Smetana and Milan Klikar, but there were many others, both men and women. YOUR BOOK TALKS ABOUT YOUR PROBLEMS WITH GETTING A FLAT IN PRAGUE, BUT ALSO ABOUT THE TRADITIONAL JOYS OF ANNUAL [PIG] SLAUGHTERINGS AND WEEKEND VISITS TO THE COTTAGE. ARE THERE ANY CZECH CUSTOMS OR BEHAVIOURS THAT YOU’VE ADOPTED DURING YOUR YEARS HERE? Even with a Czech wife and many Czech colleagues, friends and of ►

course Zdenka’s family and relatives, I have remained ‘American’ in outlook. I have gone to great lengths to be in touch with The Voice of America broadcasts and found ways to get American newspapers and magazines. I’m dismayed with the current American election process and worry about what is happening to my country. I have not adapted to Czech food, drink or smoking, and it’s possible this is partly the reason why at age 92 I can still walk fast. I don’t yet need a cane and can still do what I need to do. Of course I don’t have all the energy I used to have and can’t do much of anything until I have a bowel movement each day. When I left the funeral of Ada Born [legendary Czech illustrator who recently passed away] today, a considerably younger man, I realised how lucky I am… so far! MAKING AN ANIMATED FILM TAKES A LONG TIME AND REQUIRES A LOT OF PATIENCE. DO YOU THINK PATIENCE HELPED YOU OVERCOME THE COMMUNIST YEARS IN CZECHOSLOVAKIA? You’ve said it correctly. We all learned how to keep the communist bosses’ support without following the communist line. We were not just simply patient, we brought in money and we didn’t criticise communism - we simply ignored it. YOU DIRECTED MORE THEN 100 ANIMATED FILMS, WHILE YOUR OWN LIFE WOULD MAKE QUITE AN INTERESTING MOVIE. IS THERE ANY DECISION IN YOUR LIFE THAT YOU REGRET? AND IS THERE ANY MOMENT THAT YOU WOULD LIKE TO RE-LIVE? Many. And for your interest, a production group is now planning to make a TV series about Zdenka and me, based on my book, with actors playing us! Yes, I regret that I was kicked out of [the cartoon studio] Terrytoons, but how can I regret what it led to? That event is now seen as what led to my later success, such as being an Oscar winner! We can’t let mistakes eat at our bones, especially when what could have been a disaster for me led to my greatest achievements. ■

Letâ&#x20AC;&#x2122;s travel from neverwhere to everywhere Illustrations: Jinseikou | www.jiseikou.com

M INDT R AV EL L ER S .N ET powered by SOFFA and Nydrle

MINDTRAVELLERS – A PLATFORM FOR CREATIVE SPIRITS FROM ALL OVER THE WORLD – HAS GOT A NEW WEBSITE! SUBMIT YOUR WORK AND GAIN ACCESS TO REAL PROJECTS!

GOT AN IDEA FOR A NEW VEČERNÍČEK? copyright Radek Pilař / www.radek-pilar.cz

In this issue you will learn about a phenomenon of Czech television – Večerníček – the most watched and longest running children’s television programme in the Czech Republic. Fifty years of bedtime story programmes have already influenced many generations. But there are never enough Večerníček stories to go around, so we have decided to run a competition for the best new Večerníček. Come up with an idea for a short story and the main character for Večerníček. Send your idea to mindtravellers@soffamag.com by July 15, 2016. The three best ideas will be featured in the August issue SOFFA 16 and the best of the three will be rewarded with an annual subscription to SOFFA.

opera PRESENTED AT THE STATE OPERA

STRAUSS

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CONDUCTOR: ROLAND BÃ&#x2013;ER STAGE DIRECTOR: KEITH WARNER PREMIERES: 10. & 14. 6. 2016 IN THE TITLE ROLE: SUSAN BULLOCK INTERNATIONAL COPRODUCTION WITH SAN FRANCISCO OPERA AND BADISCHES STAATSTHEATER KARLSRUHE

HU R RY U P, V EČ ER N Í Č EK I S O N ! text: Helena Stiessová | illustration: Linda Rakoncajová

A BEDTIME STORY WON’T GUARANTEE A CHILD’S QUICK TRIP TO DREAMLAND, BUT IT IS A BEAUTIFUL RITUAL TO HELP CALM A YOUNG MIND AND GET IT READY FOR BED. THAT WAS THE IDEA OF THE POET AND ILLUSTRATOR MILAN NÁPRAVNÍK WHO IN 1965 CREATED A MODEST TEN-MINUTE EVENING SPOT FOR CZECHOSLOVAK TELEVISION. THE PROGRAMME, WHICH WAS PLAYFULLY NAMED VEČERNÍČEK, FROM THE CZECH WORD FOR EVENING (VEČER), SHALL FOREVER BE EMBEDDED IN THE HEARTS OF GENERATIONS OF CZECH AND SLOVAK VIEWERS. FIFTY YEARS ON, VEČERNÍČEK IS AN ENDURING LEGEND. An introductory animated jingle followed by a short story. That’s a simple description of the television programme that has been airing on Czech and Slovak television every evening since 1973. It sounds very simple, but Večerníček is anything but a simple television programme. From the very beginning, when it was aired only once per week and in black and white, Večerníček has been brought to us by a loveable animated host – a small boy with a newspaper hat and stars for eyes. He bows to his adoring viewers and greets them with “good evening”, then scatters magical stories written on sheets of paper across the star-lit sky, rides on a rocking horse, drives in a sparkly car and balances on a unicycle. You can’t imagine the daily bedtime story without the charming little host named Večerníček. The little animated introduction lasts 45 seconds and is credited to some of the greatest names in Czech animation tradition. The little boy with stars for eyes was created by Radek Pilař and animated by Antonín Bureš, and the 45-second introduction filmed by director Václav Bedřich. Ladislav Simon is credited with the simple catchy ►

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tune that has been drawing children to the living room sofa no matter what kind of mischief they may have been up to. Večerníček is friendly, genuine and you can count on him being there evening after evening. Perhaps that is why the animated introduction with today’s cult following has remained unchanged for fifty years. And beware those who would try to change it! And we haven’t even got to the bedtime story yet. The ten-minute time slot was filled over the years with hundreds of stories surrounding distinctive characters like the kind-hearted highway robber Rumcajs, the beautiful Poppy Doll with a poppy petal skirt and Krtek, the kind little mole who makes friends wherever he goes. A number of original story series was created by the pen of the legendary author Václav Čtvrtek as well as other celebrated authors. Once an idea for a storyline came to the drawing board, in moved a retinue of talented illustrators, animators, puppeteers and directors in studios like the famous Bratři v triku (Brothers in a T-shirt) and the puppet Studio of Jiří Trnka. The characters found their voices through famous actors who helped to bring the witty and magical stories to the screen, where they continue to entertain viewers young and old. After all, the likes of Pat and Mat, the quintessential handymen who fumble their way through countless amusing projects, are guaranteed to delight any grown-up. Creative work for children has not been considered a fringe activity in the creative field. Quite to the contrary, it has been and continues to be the centre of creative energy for many Czech artists. For children Večerníček is a beautiful ritual to get ready for shut-eye. The stories embody what childhood should be, safe, comfortable and predictable, and when at the end of each story the little boy named Večerníček waves back at you and in a child’s voice says “good night”, you can’t help but feel warm and fuzzy and ready for bed. No matter how old you are. ■

T R AV EL Fรฅrรถ Island

O N BE RG M A N’ S I S L A N D partner for the article: Embassy of Sweden in Czechia text: Helena Stiessová | styling: SOFFA | photo: Lina Németh

THIS EDITION OF SOFFA HAS TAKEN US TO AN ISLAND WHERE LIGHT FALLS IN SPECTACULAR ANGLES. THE SMALL PIECE OF LAND IS CALLED FÅRÖ AND IT IS INEXTRICABLY LINKED WITH THE FAMOUS SWEDISH FILM DIRECTOR INGMAR BERGMAN. HE BROUGH A FILM CREW HERE ONCE, ALMOST BY FORCE, TO EXPLORE A POSSIBLE FILM LOCATION. WHEN THEY LANDED ON THE ROCKY SHORE ONE STORMY DAY IN 1960, IT WAS AS IF A DREAM HAD COME TRUE. HERE INGMAR BERGMAN FOUND NOT ONLY THE LOCATION FOR SEVERAL OF HIS FILMS, BUT ALSO HIS HOME. Fårö is a small island interwoven by low stone walls yellowed by lichen, where everywhere is just a ‘stone’s throw away’. An island where stony fields defy the toil of their farmers and beaches are guarded by rocky giants whose feet get washed by the sea. Here you will find stones of all sizes, from tiny white pebbles to enormous boulders that rise from the sea with the abating tide, all the way to majestic sea stacks carved by the waves into bizarre and beautiful statues. Curious sheep graze on grassy meadows warmed by the sun, and summer sees the beaches crowded with hoards of tourists from the mainland. If you plan your trip outside the main tourist season, as we have done, you may experience the same that happened to Bergman. The island will seep into your soul, open its arms and embrace your dreams. And it will then be hard to leave... Miracles happen by chance, and we know of several miracles that have happened on Fårö. Back when the famous director arrived on the island, he needed a shipwreck for his film. So he walked around the cliff and there, in the shallow waters, stood the cutter he needed in the ►

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HELGUMANNEN: A stony shore rises in terraced layers from the milky sea next to the fishing hamlet called Helgumannen. FĂĽrĂś is by origin a moraine island - all the pebbles and rocks were deposited by a receding glacier. Fishing was the main livelihood activity until the film director arrived, followed by tourists.

HELGUMANNEN AND THE COAST NEAR STORA GĂ&#x2026;SEMORA: Is the fog rising from the sea or the sea condensing from the vapour of the receding fog? One magical moment and you are no longer sure of what is what. The best vehicle for these parts is a bicycle, but we made our journey easier by ploughing over the dusty roads in a Volvo.

FÅRÖ, THE ISLAND OF SHEEP AND LINNÉ’S OAK: It doesn’t take long for the sheep, disturbed by our presence, to turn their backs to us while a majestic oak looks on from a distance. The Swedish naturalist Carl von Linné used to rest in the shade of this stately oak. It was the year 1741 and the oak was already one hundred years old.

SEA STACKS NEAR GAMLA HAMN: The whole of the western coast is interlaced with limestone formations called ‘rauks’ [sea stacks]. Perhaps the most famous sea stack is Kaffepannan, resembling a gate, which is found in the area of Gamla Hamn.

The Swedes call this type of fog ‘tjocka’, and the word describes the fog’s impenetrable density. Our visit marked the first ‘tjocka’ this year, as confirmed by Ann Marie and Lars Hellström. Fårö has become their home, and thanks to a wonderful coincidence, they became our devoted guides. They took us safely through the fog, showed us an impressive homestead called Stora Gåsemora, and finally guided us to a secret gate leading to the sea. It was in this spot, on our first day,that we understood why Bergman spoke of Fårö as ‘love at first sight’. The fog, scented by salty air, carried the distant screeches of sea gulls. The white water moved slowly to kiss the horizon, which appeared close enough to touch, its straight line broken here and there by a large grey boulder. Fårö took our breath away. Over the next few days the island wraps us around its mystical sea tentacles. It displays various kinds of light and places whimsical windmills, sweet sheep shelters and delicate wild orchids in our path. Each scene competes with the next. But Fårö’s charm is unobtrusive nothing is forced and everything, including the ever present sheep, is stoically calm. The fishing hamlet Helgumannen on the northern coast has a most serene atmosphere. Small houses enveloped by the wide

SUDERSTRAND BEACH: Welcome to the beach! Do you prefer a rocky outcrop with a blanket of lichen, or fine sand? In 2007 Suderstrand beach was named by the Swedes as the ‘second most beautiful beach in the world’. During the short summer its every nook and cranny is covered by the bare bodies of excited tourists.

most appropriately wrecked state. We arrived in the light of May, and the island, wanting to show that it is more than a summer fantasy, wrapped itself in a majestic damp fog. And from the fog emerged slowly the dreamy outline of cottages and horses, beckoning the camera to indulge in an ecstatic performance.

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FÅRÖSUNDS FÄSTNING: The military base was closed in 1919. The recent renovation took a lot of work, but today the fortress is a welcoming place for guests, and their food is excellent.

PANCAKE HOUSE KUTEN: When visiting Fårö, you can’t miss the local pancake house Kuten. Rust, Elvis and spelt flour!

HIGH PLAIN ABOVE STORA GÅSEMORA: The islanders held the famous director’s last farewell on a high plane near the coast, where in the spring and summer wild orchids grow amid low stone walls.

RIGHT: The homestead Stora Gåsemora serves as a hotel and an events venue. The interiors have retained many original features, including walls painted with roller stamps.

landscape look out onto the opal-coloured sea and a lonesome fisherman stretches his nets out to dry. He then mounts his bicycle and leaves us standing amidst the dry boats that look like they haven’t seen water for a year. A bit further down we are greeted by a coastline with a dramatically serrated silhouette. Ancient sea stacks have been inching their way out of the sea since the last Ice Age, and when the last rays of sun retreat into the waves, it is time to return to our hotel.

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A yellow ferry takes us to the neighbouring island of Gotland, where we arrive at the stylish coastal hotel Fårösunds Fästning. The hotel brings to mind the island’s recent history, when thanks to its strategic position in the Baltic Sea it served as a defensive military base. But the large coastal bases have now been demolished, and one of them has been transformed into a beautiful, locally authentic accommodation. The owners Peter Alvérus and his wife Cian Bornebusch have built a lovely place that appeals to adventurers and families with children alike. After three days we leave the island with a feeling that we have just experienced something extraordinary. Fårö captivated us fully. Perhaps because we wished for it to be so, or perhaps because such a diverse and beautiful place is simply irresistible. Safe travels to all those who board the yellow ferry towards the magical Swedish island of dreams! ■ We thank the Embassy of Sweden in Czechia, the carmaker Volvo, hotel Fårösunds Fästning and the Hellströms for their kind help and support in the making of this story.

BERGMAN? THE FELLA DOESN’T LIVE HERE. partner for the article: Embassy of Sweden in Czechia text: Helena Stiessová | styling: SOFFA | photo: Lina Németh

INGMAR BERGMAN DIRECTED MORE THAN FORTY FILMS IN HIS LIFETIME, MANY OF THESE SET IN A STRANGE, HARSH, ROCKY LANDSCAPE. HE FILMED IN MANY LOCATIONS AND FÅRÖ SEEMS TO EMBODY THEM ALL. THE DIRECTOR ENDED UP SETTING ROOTS ON THE ISLAND, AND ONCE SAID ABOUT THE LITTLE SPECK OF LAND IN THE VAST BLUE OF THE BALTIC SEA: “I CAN’T IMAGINE MY LIFE WITHOUT FÅRÖ”. Ingmar Bergman was born in Uppsala in 1918 and spent most of his childhood with his grandparents in Dalarna, a beautiful region covered with deep forests and crisscrossed with rivers and mountain ranges. But Bergman never felt fully at home in this region, and even Stockholm where he lived later, did not provide the spiritual fulfilment he sought. It was only when he arrived on a remote little island in the south of Sweden that the famous director knew he had found his longed-for home. Only a few years passed between Bergman making the 1960 film Through a Glass Darkly, his first feature filmed on the island, and building his home in a coastal area known as Hammars. There is a traditional divide of the island between the east and west, and Bergman chose to build his home in the western part, where sandy beaches give way to deep forests and serene wetlands. It was serenity that Bergman was seeking, the kind that imprints itself onto your soul. The rocky coast surrounded by forests provided him BERGMAN’S HOME: The coastal home in Hammars looks as if the famous director has never left. ►

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with the right amount of privacy, and his work desk looked out onto the sea. Here he could be with his family, take daily morning walks and breathe the fresh sea air that can, as he used to say, “banish the demons of the soul”. For Bergman the island was not just about the imposing landscape. He was very impressed by the islanders, whom he liked from his first filming adventure. Obliging, hard-working people toughened by an environment cut off from the mainland. Right from the beginning there was great mutual respect and admiration between the director and his new neighbours. When thanks to Bergman the unknown little island become a frequent visitor destination, the islanders responded stoically. “Do you know where the famous director lives?” “No idea.” Bergman’s personal life is linked to many places on the island. Near his home, to which only his family and the recipients of the Bergmangårdarna foundation scholarship have access, stands a whitewashed house with red doors. Originally a stables connected to the Dämba homestead, the building was transformed into a filming studio for the television series Scenes from a Marriage in 1971. Afterwards Bergman rebuilt it into a ‘Kinematograf’ [cinema], which served as a daily afternoon screening space for Bergman and his friends. Here he would roll with laughter when for his birthday they watched the films of Charlie Chaplin, whom Bergman admired greatly. The director had another private screening room in his house, and another Bio [cinema] stands not far from Suderstrand beach. This was the only cinema on the ►

LEFT: The red door was the entry to the cinema hall in Dämba, where the eyes had to adjust from the sharp light outside to the dim atmosphere inside. The room could seat sixteen people and Bergman would show old black and white films as well as new productions. His daughter Lena remembered that he was very generous, at times almost too generous in his responses to new works.

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island before Bergman’s arrival. When Bergman filmed on the island, he would use the cinema to screen rough cuts with his crew. The footage would be developed in Stockholm on special order and sent by plane to the island. Ingmar Bergman was married five times. He described his somewhat turgid emotional life with a sparkle in his eye; the filming process simply gave rise to an irresistible erotic impulse. His last partner, who turned out to be his life partner, was Ingrid von Rosen. After her death the ageing man began to retreat to his island more frequently, and once he completed his last film Saraband in 2003, he settled there for good. When asked whether he was lonely, he replied with his unique humour. “I’m not lonely,” he would say, “I have friends among the pine trees and rabbits.” The island where everywhere is close to the sea was a natural choice for Ingmar Bergman’s last retreat. When he passed away in 2007, his farewell on a high plane near a low windy wall was arranged by the islanders. According to Ann Marie and Lars Hellström who were present, the islanders were able to keep it a secret from prying journalists until the last moment. Today admirers can visit Bergman’s resting place in the cemetery next to the white church, tucked away in a quiet corner. Forty years before his death he proclaimed that he would be happy to be embalmed and placed in a waxworks, where with the help of a widget he could nod at visitors from inside an editing room, and the proceeds from such a display could support the work of young filmmakers. Thankfully no one took him seriously. The key for Bergman was to have peace and quiet during his lifetime, and this he found on Fårö. ■

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BE RGM A N A S DI R EC TO R partner of the article: Embassy of Sweden in Czechia text: Helena Stiessová | styling: SOFFA | photo: Lina Németh

“FILM IS LIKE A LOVER. THERE IS NO OTHER ART FORM THAT CAN TAKE HOLD OF ALL YOUR SENSES IN THE WAY FILM CAN”, EXCLAIMED INGMAR BERGMAN WITH GREAT PASSION. BERGMAN WAS PRECISE IN HIS WORK AND PREPARED METICULOUSLY FOR EACH FILM. FÅRÖ MET HIS EXPECTATIONS AS A FILMING LOCATION TO THE ‘T’. HIS ARRIVAL ON THE ISLAND ALSO COINCIDED WITH THE START OF HIS LONG-TERM COLLABORATION WITH CINEMATOGRAPHER SVEN NYKVIST. IN THEIR HANDS FÅRÖ WAS NOT A MERE BACKDROP; IT EMERGED ON THE SCREEN AS A FULL-FLEDGED CHARACTER IN THE PLOT LINE. BERGMAN MADE FOUR FEATURE LENGTH FILMS ON THE ISLAND, ONE TELEVISION SERIES, WHICH INFLUENCED THE DIVORCE RATE IN SWEDEN, AND TWO UNEXPECTED DOCUMENTARY FILMS. IN EACH OF THESE FÅRÖ IS PRESENTED IN A DIFFERENT LIGHT. Countryside, stone walls, sea and flames, they are all symbols of human fate. In Through a Glass Darkly (1961), Karin, who is living with schizophrenia, arrives to an idyllic island landscape which stands in great contrast to the state of her mind. The first film made on the island, Through a Glass Darkly won Bergman his second Oscar. In his experimental film Persona (1966), the stage actress Elisabet Vogler, under the watchful eye of her nurse Alma, seeks refuge from her silence on the steep cliffs of the island. And through the war turmoil presented in ►

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Shame (1968), the island is engulfed in flames as the married couple Eva and Jan escape the inferno. When remembering the filming of Shame, locals describe with glee how the large film crew crisscrossed the island using napalm to set things alight. Above their heads screamed two fighter jets and there was bedlam everywhere. When making his notes about the film The Passion of Anna (1969), Bergman wrote that Fårö would represent the horrifying Kingdom of Death. This psychological drama presented an additional challenge, as it was Bergman and Nykvist’s first true colour feature film. Light in all its various guises was very important to the two creators, and this was one of the few projects on which they could not agree for a long time. The television series Scenes from a Marriage (1973) was filmed primarily in a studio in Dämba, which later became Bergman’s private cinema. The detailed studies of Marianne and Johan’s divorce seemed to open the eyes of many Swedes and filled marriage counselling centres and, in worse cases, lawyer’s offices. Relationships between men and women were a classic Bergman theme, so when he made the affectionate two-part documentary film about the people of Fårö (1969, 1979), it was unexpected. The two documentaries, made with a ten year gap, are Bergman’s declaration of devotion to the people of the sparsely populated island who accepted him as their own, and captures the quiet dramas of a community caught up in the daily struggle for existence. Here the famous landscape had a chance to step out of a role and be itself. ■

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DĂ&#x201E;MBA: In the village DĂ¤mba, Bergman built a small film town which included an editing studio and a collection of props. When filming Scenes from a Marriage, the energy of the set was charged by the fact that Bergman and the actress Liv Ullmann had recently ended their relationship. They remained friends, but Bergmanâ&#x20AC;&#x2122;s marriage to Ingrid was difficult to accept for the actress portraying Marianne.

BONDANS: The homestead Bondans, found along the road to the northern coast dotted with surreal sea stacks, was used in two of Bergmanâ&#x20AC;&#x2122;s films. Occupying forces set fire to the thatched roofs of the buildings in the film Shame, and the silhouette of dry pine trees helped create the atmosphere of hell in The Passion of Anna.

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LANGHAMMARSHAMMAREN: The sea stacks on Langhammarshammaren beach look on as Jan and Eva flee from the horrors of civil war, and each other, in the closing scene of Shame. A bay a little further along is the setting for a dreamy black and white scene that brings The Passion of Anna to its conclusion.

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HAMMARS: The evocative drama Persona was filmed on the cliffs of Hammars. The fiercely jagged coast experienced dramatic changes in 2012, when the cliff was literally split by a large storm. Nearby are the locations from the film Through a Glass Darkly, as well as Bergmanâ&#x20AC;&#x2122;s residence, neither of which is accessible to the public.

FERRY: Eva and Jan travel to the city and on the ferry they see the first soldiers setting off for the front. Today the car and passenger ferry is the only way to reach FĂĽrĂś, and there is an ongoing debate about the construction of a bridge.

BE RGMA N A S M EN TO R partner for the article: Embassy of Sweden in Czechia text: Helena Stiessová | styling: SOFFA | photo: Lina Németh

WITH THE ARRIVAL OF INGMAR BERGMAN MANY FÅRÖ LOCALS HAD A CHANCE TO GET ON THE FILM SET. FILMS NEEDED SKILLED CRAFTSPEOPLE, EXTRAS, PEOPLE WITH LOGISTICS SKILLS. THAT’S HOW YOUNG ARNE CARLSSON FOUND HIS WAY TO THE FILM INDUSTRY. THANKS TO BERGMAN AND SVEN NYKVIST, THE 23-YEAR OLD BUS DRIVER LEARNT ABOUT FILMMAKING AND BECAME A DIRECTOR AND A PRODUCER WITH HIS OWN STUDIO. HE STILL DREAMS ABOUT THE GOOD OLD DAYS. Bergman approached the challenge of filming in a new location both strategically and with heart. Inviting locals to take part in the films was a prudent economic choice, and the crew felt right at home on the island. The director respected the locals and he knew they valued the work opportunities that came with the filming process. But it was no charity; each production had to work on a tight schedule and everyone was expected to be fully engaged. Not everyone was captivated by the idea of film, but Arne Carlsson was bewitched. We sit on a veranda with a man who lived the stories about which we have read in books, and listen to his tales. Arne Carlsson is nonchalant about it all. He started to work for Bergman as a runner, running with film reels and driving whomever or whatever was needed. And then he became a full-fledged member of the ‘film family’. Bergman liked to have a strong core team and he preferred to work with the same people, including actors. Hard and precise work was the best school for Arne, who didn’t even realize how famous Bergman was. The director didn’t behave like a star filmmaker; he even stored his prestigious Swedish awards in the bathroom! ►

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Arne Carlsson also learnt a lot from the highly accomplished and very approachable Sven Nykvist. He enjoyed working the film camera so much that Bergman entrusted him, half in jest, to use an amateur Super 8 to document the filming of the 1974 film Cries and Whispers. The results were so good that Arne was given professional equipment and became the official documenter of Bergman’s films. And his photographs were that much more valuable because journalists were strictly forbidden from filming locations. Arne found he had a knack for documentary filmmaking, and he was involved quite substantially on Bergman’s second documentary film about Fårö, in which the famous director paid tribute to the local people. After the completion of the famous film Fanny and Alexander in 1980 their professional paths parted for a while. Bergman wrote a glowing recommendation and Arne Carlsson started to focus on his own creative work. But their parting did not last very long; for example, Bergman produced Arne’s film about the isolated island Gotska Sandön. Arne was also involved in the three-part documentary film about Bergman, made in 2003, and that proved to be their last collaboration. The boy from Fårö experienced an amazing journey with Bergman and his crew. He loves to reminisce about those eventful years with a bit of nostalgia in his voice: “It was more fun then.” ■

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T EC H N O LO GY Å KODA VisionS

Š KO DA U NL E A S H ES A M I G H T Y B EA R text: Václav Pavlečka | photo: Škoda

SPORTING LINES SHARPER THAN THE TEETH OF AN ALASKAN BEAR, ŠKODA’S ALL NEW VISIONS CONCEPT CAR DEFINES A BRAVE NEW WORLD OF BIG SUVS. CUBISM INFUSED WITH EXCITING COLLIDING ANGLES, THE VISIONS IS FEARLESS AGAINST ANY TYPE OF ROAD; IN FACT, ITS MIGHTY MUSCLES ARE FIT TO DEAL WITH NO ROAD AT ALL. ŠKODA’S EXCITING GLIMPSE OF THE FUTURE OF HYBRID SUVS REVEALS A STRIKINGLY GREEN, HYPNOTISING VISION WHICH APPEARS TO BE FROM A FUTURE FAR AWAY. IN REALITY THE VISIONS IS NO WORK OF FICTION, AS IT LOOKS VERY CLOSE TO THE ANTICIPATED PRODUCTION VERSION APTLY NAMED KODIAQ.

ŠKODA’s chief designer Jozef Kaban continues his mission to bring traditional symbols of Czech craftsmanship to the popular carmaker’s range. Not only is his work inspired by Czech Cubism - nowhere else will you find Cubist architecture on as magnificent a scale as in the Czech Republic - Jozef and his team also bring famous Bohemian crystal into the game. Like the crystal inspired headlights of the ŠKODA Superb, the whole front of the VisionS is dedicated to this wonderful element. But it’s not just the sharp design and bearish attitude that make the VisionS steal your heart. Its 4.7 metre long and 1.9 metre wide body can carry up to seven passengers in comfort and still provide a very dynamic ride while consuming a mere 1.9 litres of fuel per 100 kilometres. The 1.4 TSI turbocharged engine, coupled with two electric motors and the automatic DSG gearbox, produces an impressive system output of 165 kW that can catapult all seven passengers from 0 to 100 km/h in just 7.4 seconds. For city driving the hybrid drivetrain allows the engine to be shut off completely, leaving just the electric motors to get you around town for up to 50 kilometres on pure electricity. What a trip! ■

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GALLERY OF CINEMA Fading Beauty of Czech Movie Houses

STAR D U S T M EM O R I ES text: Martin Sova | photo: Lina Németh

WE ALL REMEMBER THE FIRST MOVIE THEATRE WE VISITED. PERHAPS BECAUSE WE HAD OUR FIRST DATE THERE OR GOT OUR FIRST KISS. MUCH HAS CHANGED SINCE THE DAYS OF THE CLASSIC THEATRE WITH UNCOMFORTABLE CHAIRS, DUSTY SMELLS AND THE EVER AUDIBLE HUM OF THE PROJECTOR. AND WHAT HAS CHANGED MOST ARE THE HISTORICAL MOVIE HOUSES IN SMALL TOWNS AND IN OLD CITY NEIGHBOURHOODS, PLACES WHERE PEOPLE MEET AND SPEND QUALITY TIME TOGETHER. SADLY, MANY OF THESE HAVE BEEN LOST FOR EVER. It is hard to imagine that cinema was invented more than a hundred years ago. Movies entered the Czech lands through the efforts of the pioneer cinematographer Jan Kříženecký, who screened early films in temporary spaces or the halls of hotels and pubs. Another important role was played by Viktor Ponrepo, originally a magician and a juggler, who traveled with a film projector from town to town and eventually opened the first dedicated movie house on Karlova street in Prague. By 1914 there were fifteen permanent movie houses in the capital city, and some operate to this day – for example Světozor, today a hub of the art film scene, or the more opulent Lucerna located a few metres away. These movie houses have been renovated, digitised, equipped with modern sound technology, and in contrast to the large multiplexes they tend to feature independent productions. Unfortunately many other old movie houses have either been completely shut down, refitted for another purpose, or are still waiting for the return of their time in the limelight. In spite of their fading beauty old movie houses have a certain touch of magic, and many are veiled in interesting histories. ■

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THE HISTORICAL TOWN OF ÚŠTĚK, WHICH HAS OFTEN SERVED AS THE BACKDROP FOR MANY CZECH FILMS THANKS TO THE BEAUTIFUL LATE GOTHIC HOUSES IN THE TOWN CENTRE, SQUEEZED ITS MOVIE HOUSE INTO A BLIND ALLEY OFF THE MAIN SQUARE. SADLY, IT HAS BEEN OUT OF SERVICE FOR TWO YEARS NOW.

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THE CENTRAL BOHEMIAN TOWN OF VTELNO IS HISTORICALLY CONNECTED TO THE LOBKOWICZ FAMILY. THE SMALL MOVIE HOUSE LOCATED ON THE MAIN ROAD HAS NOT BEEN FUNCTIONING FOR A LONG TIME, BUT DURING THE SUMMER LOCAL FILM BUFFS CAN VISIT THE NEARBY CULTURAL CENTRE KOSTEL [CHURCH].

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THE TOWN OF ČESKÝ ŠTERNBERK CARRIES THE SAME NAME AS THE CASTLE THAT TOWERS ABOVE IT. THE LOCAL MOVIE HALL IS HOUSED IN THE BUILDING BELONGING TO THE ATHLETIC CLUB SOKOL, AND JUST LIKE MANY OTHER SMALL MOVIE HALLS, IT COMES TO LIFE ONLY A FEW TIMES A YEAR DURING SPECIAL EVENTS.

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THE NORTH BOHEMIAN TOWN OF MODLANY, FOUNDED AS EARLY AS THE 13TH CENTURY, CAN BE PROUD OF ITS BAROQUE CHURCH OF ST. APOLLINARIS. SADLY, THEIR MOVIE HOUSE, LOCATED NEXT TO THE LOCAL COACH INN, HAS BEEN NEGLECTED AND IS IN SLOW DECAY.

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THE CINEMA LOCATED IN NERATOVICEâ&#x20AC;&#x2122;S EXTENSIVE CULTURE AND HOTEL COMPLEX, WHICH WAS BUILT IN 1972, IS OPEN TO THIS DAY. THE WORN EXTERIOR HIDES A POLISHED GEM AN INTERIOR THAT CONTINUES TO HONOUR THE PERIOD IN WHICH IT WAS BUILT.

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FROM THE 1920’S ONWARDS THE HEART OF ONE OF THE MOST BEAUTIFUL PRAGUE NEIGHBOURHOODS WAS A CENTRAL COMPLEX WITH SHOPS, RESTAURANT, DOCTOR’S SURGERY, THEATRE AND MOVIE HOUSE. OPERATIONAL UNTIL NOT LONG AGO, THE MOVIE HOUSE NOW SADLY LAYS VACANT DUE TO OWNERSHIP DISPUTES.

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P Ř Í H O DA

Jiří

sculptures P ra gu e C i t y G a l l e r y C h â t e a u T R O J A 1. 4 | 3 0. 1 0 | 2 0 1 6

U Trojského zámku 1, Prague 7 Open daily except Mondays from 10 a.m. to 6 p.m., Fridays from 1p.m. to 6 p.m. www.ghmp.cz

F I L M ES S AY Cinematic Masterpieces You Must See

RECENTLY OVERLOOKED MASTERPIECES text: Ladislav Babuščák Last month the Cannes Film Festival wrapped up the 69th edition of this most prestigious film feast, and movie buffs are already anticipating the line-up for the 73rd Venice Film Festival. Having a film selected or even awarded at any of the renowned film festivals has always been a great honour and a massive marketing boost, as this has traditionally led to wider distribution and more audience attention than without the accolades. And we now live in a world where hype and publicity are measured in gold, so being recognised at such an event has become ever more important. As recent experiences show, leaving a festival empty handed can seriously jeopardise the longevity of a film in theatres and in people’s memories. Despite the enormous volume of films released every month, movie theatres are struggling to keep their regular moviegoers. Video on demand platforms are taking over, providing high quality streaming wherever and whenever you want. In a society weaned on creature comforts, materialism and an abundance of choice, cinema is slowly and sadly moving from being an art form to being a commodity conditioned by profit. Many of us are aware of legendary directors like Ingmar Bergman, Andrei Tarkovsky and other immortal icons. Many may even know some of the living directors who have already become cult figures, like David Lynch, Terrence Malick or David Cronenberg, and keenly follow their careers. But how can we tell who will be the ‘next big thing’? How can we, from the vast amount of material cluttering the internet, know what or who is worth following, supporting and applauding? And what if you are not quite a cinephile and don’t follow every major film festival, yet you still like a good art house film and want to keep up to date with what is going on in contemporary cinema? To choose or actually find a masterpiece that is not engulfed in hype, yet is right for you, may not be an easy task. ►

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When Igor Stravinsky premiered The Rite Of Spring in Paris in 1913, the revolutionary performance apparently caused a riot. Whilst many of the shocked audience took to destroying the theatre, others were standing, applauding and shouting “Bravo!”, knowing they had witnessed a great work of art. What about us? More than a hundred years later, are we ready to challenge old structures and embrace groundbreaking approaches to art? Young aspiring filmmakers are bringing to the screen bold films that challenge traditional forms of narration, while acclaimed filmmakers who have refused to become commercialised continue to build on their complex oeuvres, which don’t seem to attract contemporary audiences. All of them need our attention, more so now than ever before. Every year brings several wonderfully crafted masterpieces that challenge the boundaries of cinema, often presenting a mirror to our troubled society – as great art has always done. Most of these films barely receive limited theatre release, and many come to the attention of only the most dedicated of cinephiles. Against this backdrop we have decided not to state the obvious by celebrating wellknown classics, but to direct your attention to some hidden gems. Here is a list of ten recently released and sadly overlooked masterpieces that must be seen!

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LADISLAV BABUŠČÁK (1985) IS A VISUAL ARTIST, CURATOR, FILM LOVER AND MOVIEGOER WITH A DEGREE FROM THE FILM AND TV SCHOOL OF THE ACADEMY OF PERFORMING ARTS IN PRAGUE (FAMU). HE IS THE CONCEPT DIRECTOR OF AN ONGOING SERIES OF EXPERIENTIAL SOIRÉES KNOWN AS CINEMA LADISLAV.

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1. NIE YIN NIANG / THE ASSASSIN (2015) WHO DIRECTED IT: Taiwanese director Hou Hsiao-Hsien has been masterfully crafting films for the past three decades. With this latest film he delivers an overwhelmingly beautiful and flawless work of art. WHAT IS IT ABOUT: A historical tale of revenge set in 7th century China. The film challenges the notion of narration with its use of imagery and emotions, rather than the plot itself. WHY YOU SHOULD SEE IT: The Assassin is a film like no other. Without a doubt one of the best movies of 2015, this stunning film is a cinematic triumph. It brings together remarkable cinematography with mind-blowing sound design and subtle, yet moving performances. Directed with the power of a Chinese emperor, The Assassin is like a silent and powerful river flowing through the centuries. WHY IT WAS OVERLOOKED: Although The Assassin was a big hit on the festival scene, topping many important polls of 2015, it remains unknown outside cinephile circles. This very slow-paced film with limited dialogue and emphasis on visual narrative is doomed to stay hidden amid the cinematic expectations of today - unless somebody recommends it to you.

2. RAK TI KHON KAEN / CEMETERY OF SPLENDOUR (2015) WHO DIRECTED IT: That director with a name impossible to pronounce. Apichatpong Weerasethakul is a Thai director who consistently blurs the boundaries of cinematic language with a bizarre and thematically rich exploration into unconsciousness. WHAT IS IT ABOUT: Cemetery of Splendour is a story of a nurse who takes care of soldiers suffering from a strange sleeping illness. The film turns into a spiritual journey reaching dizzy heights of self-awareness. WHY YOU SHOULD SEE IT: Weerasethakul has created his own style of storytelling, which is often shocking to a Western audience. Cemetery of Splendour is a lesson in mysticism wrapped in a delicately humorous and visually stunning story. A film skilfully connecting mind, body and spirit. WHY IT WAS OVERLOOKED: For many, Weerasethakulâ&#x20AC;&#x2122;s style of filmmaking mixing dreams, reality and time lines, may be a challenging experience. This film is not for everyone, but its delivery and message deserve your attention.

â&#x2013;ş

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3. MIA MADRE / MY MOTHER (2015) WHO DIRECTED IT: Italian actor and director Nanni Moretti has a tendency to deliver emotional and humorous dramas with increasing quality. But in 2015 this Cannes veteran went home with only the Prize of the Ecumenical Jury. WHAT IS IT ABOUT: Two siblings, two different lives and one terminally ill mother. Three people sharing one problem that affects their lives in different ways. WHY YOU SHOULD SEE IT: Moretti’s own experience of losing his mother compelled this master of human emotions to deliver one of his finest movies to date. My Mother challenges the typical Italian ‘la mama’ genre and transcends it into a marvellous and complex meditation on fear and loss. Something that under the weight of a traumatic experience appears everywhere in our daily life. WHY IT WAS OVERLOOKED: The often hysterical and melodramatic style of this multi-layered and finely crafted gem might be hard to crack. The theme and the emotional style of the movie may serve as some kind of ‘exorcism’ of feelings we don’t usually like to experience, which explains why people are not too keen to embrace it.

4. LA LOI DU MARCHÉ / THE MEASURE OF A MAN (2015) WHO DIRECTED IT: The French director Stéphane Brizé gained wide recognition outside of France last year with this outstanding social drama. It competed for the Palme d’Or at Cannes but claimed the Prize of the Ecumenical Jury - Special Mention. WHAT IS IT ABOUT: A working class man with just a few years before retirement struggles with losing his job. The film is about how he deals with the humiliating situation and the challenges to his dignity. WHY YOU SHOULD SEE IT: The Measure of a Man may be the most important film of 2015. Superb on every level with a splendidly crafted screenplay and exquisite performance by Vincent Lindon. This film is an important, intimate and powerful commentary on a man’s dignity. An emotionally charged and rewarding experience. WHY IT WAS OVERLOOKED: An ordinary story of a common man, this film is unfortunately likely to meet the same destiny as its main character. No matter the quality of The Measure of a Man, its delicate and subtle appeal has not brought this masterpiece into the spotlight.

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5. MACBETH (2015)

6. JAUJA (2014)

WHO DIRECTED IT: The young Australian director Justin Kurzel caught the attention of critics in 2011 with his debut movie Snowtown. His most recent cinematic wonder Macbeth competed for the 2015 prestigious Pame d´Or in Cannes.

WHO DIRECTED IT: Argentinean filmmaker Lisandro Alonso who has developed his own style with a unique and quite radical approach to time and narration.

WHAT IS IT ABOUT: Prophecy, fear, hate, downfall, tragedy – the essence of Shakespeare. WHY YOU SHOULD SEE IT: Macbeth is a thematically accurate though condensed adaptation of the Shakespeare classic - an archetypal tale of fear and revenge. It is an outstanding cinematic achievement with a visually innovative approach, a bold narrative style and some of the finest fight scenes and breathtaking sequences this promising young director has to offer. Kurzel delivers a heavy and gloomy depiction of a man’s downfall. WHY IT WAS OVERLOOKED: Although packed with a stellar cast, Macbeth is a dark movie. With its old English dialogue, highly symbolic imagery and an almost pagan energy, Macbeth struggles to connect with a wider audience.

WHAT IS IT ABOUT: A father who loses his daughter in a desert desperately tries to find her in the vast empty space, only to be confronted with the mysteries of femininity. WHY YOU SHOULD SEE IT: The simple plot of Jauja serves as a Freudian metaphor for a tale of separation and our inadequacies in coping with the consequences of our own actions. A visually stunning and minimalist coming-of-age drama, Jauja is a super fine psychoanalytical journey into the eternal problems that shape our lives. WHY IT WAS OVERLOOKED: Alonso’s unique off-beat pacing of Jauja and his deliberately theatrical approach ask the audience to overcome an almost impenetrable wall between them and the film. A wall that has sadly been built by today’s cinematic expectations.

►

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7. TANGERINE (2015)

8. BABADOOK (2014)

WHO DIRECTED IT: American indie director Sean Baker whose interest in complicated relationships between young people has led him to create one of the most intense films of the last few years.

WHO DIRECTED IT: The Australian writer and director Jennifer Kent whose cinematic debut was an overnight success at the Sundance Film Festival.

WHAT IS IT ABOUT: Two transgender people, one pimp and one nasty rumour. It’s a revenge tale that could have been a road trip if it weren’t for the prostitutes. A story like this has never been more fabulous. WHY YOU SHOULD SEE IT: Tangerine is an intense tour de force of emotion. A movie shot entirely with an iPhone 5 on the streets of Los Angeles, featuring real people from the transgender community playing leading roles. Baker encourages his actors to improvise with their flamboyant acting, which crowns this rare and fearless gem of contemporary filmmaking. WHY IT WAS OVERLOOKED: Tangerine received quite a hype in the U.S. when it was released, creating some Oscar buzz, but it failed to land a nomination. It was a festival hit probably for its over the top energy and cast, who are unfortunately still considered social outcasts. Tangerine has struggled to appeal to a wider audience outside the independent film community.

WHAT IS IT ABOUT: A woman, who lost her husband in a car accident on the way to the hospital to give birth, is trying to raise her son. The son becomes increasingly agitated and obsessed with a strange book about a monster. Babadook is a skilful illustration of the psychological impact of trauma and our projection of it onto others. WHY YOU SHOULD SEE IT: There is hardly anything like Babadook in recent cinematic history. This masterfully conceived horror film is actually a therapeutic piece of art. Astonishing on every level, it offers a nail-biting experience rewarded by a powerful message that may change your perception of the thoughts we try to suppress. WHY IT WAS OVERLOOKED: Babadook received huge critical acclaim at the Sundance Film Festival and a wide theatrical release, but many viewers who would appreciate its artistic qualities don’t typically watch horror films. However, this horror film deserves to be discovered.

►

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9. HEAVEN KNOWS WHAT (2014)

10. VICTORIA (2015)

WHO DIRECTED IT: The two American brothers, Ben and Joshua Safdie, are no strangers to the indie film community, but their raw and powerful venture into the life of drug addicts in New York City has gained them wider recognition.

WHO DIRECTED IT: German actor turned director Sebastian Schipper has appeared in many German films and has worked with some great directors. Last year he received international recognition for his fourth feature film premiered at the Berlin Film Festival, where it snatched the Silver Bear.

WHAT IS IT ABOUT: A real heroin addict plays herself in this story of homeless lovers navigating a volatile and violent relationship in a city where no one really cares. WHY YOU SHOULD SEE IT: Heaven Knows What is an impeccable exploration of heroin fuelled love among the ruins of personalities, and a shockingly beautiful and non-judgemental portrait of dignity. With raw and uncompromising hand-held camerawork, a fierce soundtrack and great acting, Heaven Knows What takes you where you never wanted to be, showing you that we all long for the same thing – love. WHY IT WAS OVERLOOKED: The combination of a highly unpopular topic and the uncompromising rawness of this masterpiece has probably had the same effect on viewers as when a homeless person asks you for money on the street. Distributors, and subsequently audiences, have simply turned away from this film.

WHAT IS IT ABOUT: A breathtaking ride through late night Berlin, captured in one single camera take. Victoria is the story of a young expat in Berlin whose life takes a shocking turn when she meets a group of passionate Berliners on her way home from a techno club. WHY YOU SHOULD SEE IT: Victoria is an ultra-sensitive exploration of youth and the fearless attitude which lasts only for a short time of our lives. The real timing of this masterpiece, together with intense improvisation by the lead actors, great camerawork and masterful direction all contribute to the film’s brilliance. Victoria is a modern masterpiece of fierce energy. WHY IT WAS OVERLOOKED: The 138-minute single take that keeps your heart beating at an elevated rate might just be too much for most people to handle. Everything that is admirable about this movie can also be easily misunderstood. ■

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SO F FA & F EDR I G O N I Paper with Tradition

W R AP PED I N PA PER text: Adéla Kudrnová | styling: SOFFA | photo: Lina Németh, Adéla Havelková, Fedrigoni archive / Barbora Součková

SOFFA IS ABOUT A VARIETY OF THINGS – ART, DESIGN, FASHION – AND LAST BUT NOT LEAST - PAPER! THE PRINTED EDITIONS OF SOFFA ARE A TESTIMONY TO THE RENAISSANCE OF PRINT AND THE UNSURPASSABLE QUALITY OF THE PRINTED FORM. BEGINNING WITH SOFFA 14, YOU CAN EXPERIENCE TRUE JOY OF PAPER AS YOU READ, PERUSE AND MAYBE EVEN WRINKLE A LITTLE A MAGAZINE PRINTED ON PAPER BY FEDRIGONI. MEET THE FAMILY-OWNED ITALIAN PAPER MANUFACTURER AND THEIR CREATIVE PAPER MATERIALS! Starting with this issue and running through the end of the year, we will present a special series on the eternal beauty of paper. A magnificent material we use every day, yet give little thought to its significance, paper more than deserves our attention. The Fedrigoni company knows this very well. The Fedrigoni family began the tradition of creative paper manufacturing in 1717. The company’s headquarters are based in Verona, also the home of their first paper mill from 1888. Today Fedrigoni is represented in 80 countries and this May the company finally opened a showroom in Prague. The renovated loft space in ► RIGHT AND NEXT SPREAD: The new Fedrigoni showroom captivates with not only the gorgeous samples of paper, but with the stunning loft-space interior and design furnishings. You can peruse beautiful books and publications printed on Fedrigoni paper while relaxing on the comfortable Kubikula sofas and armchairs, designed by Vladimír Žák for UP Závody. Even the lights in the showroom are connected to paper – the three decorative glass lights from hand-blown Czech crystal, which hang above the small tables by Gravelli, were custom designed and inspired by the Fedrigoni Constellation collection. Their creators are Jindřich Fialka and Matyáš Fuchs.

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Cihelná street became the home for an inexhaustible amount of paper, paper samples and paper products. A true paradise for paper aficionados, made that much more special by wonderful Czech design furnishings and an amazing view of the city. The paper selection at the Fedrigoni showroom is truly unparalleled, featuring more than 3,000 different types of paper. The specialty here is paper for book making, specialty card stock, and material suitable for luxurious covers. Many Czech creatives have already found their way to Fedrigoni. They include the box and wrapping magician Jan Činčera and studio Calico, who use Fedrigoni paper for their distinctive handprinted wrapping papers, which are made with their own or historical calico patterns. They also include Tereza Hradilková, who transforms Fedrigoni paper into three-dimensional greetings named Porigami. And you wouldn’t believe it, but paper can even be used to make shoes! In collaboration with Fedrigoni, the fashion designer Monika Lepschy has created a whole collection of paper shoes and jewellery called Thank you Marcus for the Vancouver Fashion Week. What other paper manufacturer has its own ‘haute paper couture’? Fedrigoni likes to connect skilled creatives across the globe, and one vehicle for this are Fedrigoni’s various competitions. Two competitions that are running currently are the CARD COUTURE AWARD 2016 and the TOP FEDRIGONI AWARD 2017. The earlier mentioned studio Calico is proud to have received 2nd place in last year’s TOP FEDRIGONI AWARD. For more information go to: www.fedrigonitopaward.com and www.symbolcard.de/de/card-couture-award/ ■ LEFT: Czech design and Italian paper understand each other perfectly. Colourful samples of Fedrigoni paper shine on the concrete table by Gravelli, surrounded by chairs by Ton.

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