An irresponsible playboy whose life revolves around making women happy discovers that there is such a thing as paternal and partner responsibility. A seemingly perfect married couple is confronted by fate in the form of a young refugee from a children's home. A successful and confident manager has found his soul mate, but introducing her to his parents is a nightmare for him. Two lonely people who have given up on happiness and finding the right person may get one more chance.

Every year, prominent actors from the animal kingdom gather on the magic carpet to present film awards. The lion king keeps order, and Bobo the platypus provides entertainment. His performances are interspersed with films called La Fontaine's fables. The organization runs smoothly, even though each performer's act has its own charm of awkwardness.

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The knight Johannes rides to his new lands, which the king has given him for his bravery in battle. On the way to his castle, he learns that the castle is enchanted. A ghost is said to be haunting it. No one dared to enter the castle. Even the cruel steward Rudolf, who considers himself the lord of the lands, avoids the castle. The farmers from the village help the friendly Johannes in his fight against the evil steward. And his love for the beautiful Anna gives him the strength to break the spell that lies upon the castle.

To begin with, N. P. is the title of a Banana Yoshimoto novel published in 1990. Riddles unfold around another eponymous text, a collection of short stories written in English, this time, by Sarao Takase, a mysterious Japanese author who emigrated to the United States. In eminently unsettling ways, it tells us about how every Japanese translator must die once she reaches the ninety-eighth short story. In eminently disturbing ways, it tells us about how incest finds its way, reaching the core of all plots, inviting characters to merge into one another in the most appalling ways. We understand that what is at stake here sensibly points, with an added sense of the scandalous, to those dangerous liaisons at the heart of any and all translating endeavour. Not to mention the sophisticated twist which the relationship between Western and Asian cultures sketches out. To such a dense bouquet of motifs, Lisa Spilliaert, superbly rising up to the challenge of her first feature-length film, adds the arabesque of another « translation »: adapting a literary text to film. No doubt one reason why she chooses to erase all live sound. Aside from a splendid, original soundtrack commissioned for the present occasion, featuring compositions of a famous American noise group, Wolf Eyes, and Japanese artist Asuna, in addition to a fabulous sound effects job and the discreet rustling of the world’s rumours, we see, as in the silent movies era, all of its dialogues written on the image. Extensively borrowing from melodrama and an aesthetics of photographic novels, Lisa Spilliart skillfully surfs between genres, offering us a surprisingly unique film endowed with such grace and where, so it seems, she has successfully, and discreetly, integrated much of her own self.

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The urn supposedly containing the remains of Alice's grandfather falls out of the window and breaks. To Alice's great surprise, the urn is empty and the girl learns that the grandfather didn't die but disappeared under mysterious circumstances on the 2nd September 1946 in the town of Telc. Her grandmother claims that a mysterious young man with dark glasses was implicated in her husband disappearance. Alice is determined to solve the mystery. Grandmother's story leads Alice to a shoemaker who hands her Professor Jeník's - her grandfather's - invention, called the Force-fields Accelerator. Alice tells her boyfriend Petr about the device and the young man creates a time machine following the professor's instructions. The young couple then travel back to 1946 and there they indeed meet Alice's grandfather, and his daughter Blanka, who will later be Alice's mother.

Even ideology permeated the children's stories: the beginnings of forced collectivisation in the village are seen through the eyes of a young boy. As the son of an honest and deliberate communist official, there is no shortage of informed insight, even if it is lightened slightly by the occasional wacky idea. However, childhood friendships or even loves run up against the conflicts of an excited age, especially when the protagonist's best friends come from families of class enemies.

The Servant of Two Masters is a mature example of commedia dell'arte, featuring traditional characters and situations. It takes place within a close-knit family, where the main event is an engagement complicated by the servant Truffaldino, who is both cunning and foolish. He sets in motion a comedy of mistaken identities and misunderstandings, driven by his eternal hunger, through unexpected twists and turns to a happy ending. He is surrounded by traditional characters – commedia dell'arte masks – the worried father Pantalone, the wise doctor, and their children in love, an adventurous couple of lovers, the innkeeper Brighella, and the maid Smeraldina. Truffaldina is played by Miroslav Donutil, who continues the tradition of improvisation to the great delight of many audience members.

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