The autistic Václav is regarded as a harmless enough soul but, as the years pass, he causes increasing problems, and his neighbours in the village and his colleagues in the agricultural cooperative are running out of patience. Locked in his own playful, poetic world, he lives with his aging mum who fondly accepts her son’s madcap ideas and excesses. But the majority think that someone who shoots at passers-by with an air rifle and tries to drive a tractor for fun belongs in an institution. Even the man’s respectable younger brother František refuses to take him under his wing anymore. Then one of Václav’s reckless exploits lands him in prison. Who will find the courage to sign the petition for his release? This tragicomedy is inspired by a real story from the 1990s which received considerable exposure when the protagonist was granted clemency by former President Václav Havel. Ivan Trojan and Jan Budař won Czech Lions for their performances. 　　About the director 　　Jiří Vejdělek (b. 1972, Šluknov) graduated in film direction from FAMU after studying at the Teaching College in Ústí nad Labem. He attracted attention with his student films (Sweets / Sladkosti, 1999, selected for the short film programme at the Cannes IFF). He signalled his interest in comedic material straight away with his feature film debut Holiday Makers (Účastníci zájezdu, 2006), an adaptation of Michal Viewegh’s bestselling novel that became the biggest Czech box office hit of 2006 and won Eva Holubová a Best Actress award at the Tribeca Film Festival in New York in 2006 and a Special Jury Prize for the entire cast. Last year, in addition to Václav, Vejdělek directed the poetic comedy Roming, also written by Marek Epstein. He also works in television (the series The Office / Redakce).

三年前暗夜天尊赵东全家惨死，追杀仇家途中不慎入魔，被师父牧无极带走，三年后，赵东被请出山，解决杀手榜第三的北海明王，谁知排名第一的甘地夫都只配给他刷马桶……

Even though the images were shot before a large part of the world was petrified by the pandemic in the spring of 2020, the new film by Sebastian Mez (Metamorphosen, VdR 2013) inevitably refers to it. Consisting of a series of static shots emptied of all living presence, The Great Void looks without blinking, no more, no less, at the agony of our civilisation.

Even though the images were shot before a large part of the world was petrified by the pandemic in the spring of 2020, the new film by Sebastian Mez (Metamorphosen, VdR 2013) inevitably refers to it. Consisting of a series of static shots emptied of all living presence, The Great Void looks without blinking, no more, no less, at the agony of our civilisation.

Sebastián (17), empieza a cuidar solo el pequeño motel de su tío que está en la desolada costa tropical de Veracruz. Miranda (35) una corredora de inmuebles de la zona se encuentra ocasionalmente en el motel con Mario, su amante. Mario siempre llega tarde al encuentro amoroso por lo que Miranda tiene que esperarlo. Durante esos tiempos muertos, Sebastián y Miranda se van a conocer y poco a poco se irán aproximando a pesar de que en el fondo ambos saben que esa posible historia es solo pasajera. (FILMAFFINITY)

In a retirement home in a small village in the south of France, residents try to build a community. What ties can they still manage to forge in this anonymous environment often perceived as hostile? How do they cope with loneliness? What is the intimate relationship they have with life as they approach death? “Empty Hours” gives visibility to beings and bodies that are rarely represented, bodies that are aging but nonetheless very much alive. The film attempts to detect the irrepressible vital force that nestles at the heart of this antechamber of death. 　　源自：https://wff.pl/en/film/empty-hours

Sebastián (17), empieza a cuidar solo el pequeño motel de su tío que está en la desolada costa tropical de Veracruz. Miranda (35) una corredora de inmuebles de la zona se encuentra ocasionalmente en el motel con Mario, su amante. Mario siempre llega tarde al encuentro amoroso por lo que Miranda tiene que esperarlo. Durante esos tiempos muertos, Sebastián y Miranda se van a conocer y poco a poco se irán aproximando a pesar de que en el fondo ambos saben que esa posible historia es solo pasajera. (FILMAFFINITY)