Of all the cinematic New Waves that broke over the world in the 1960s, the one in Czechoslovakia was among the most fruitful, fascinating, and radical. With a wicked sense of humor and a healthy streak of surrealism, a group of fearless directors—including Miloš Forman (THE FIREMEN’S BALL), Vera Chytilová (DAISIES), Jiří Menzel (CLOSELY WATCHED TRAINS), Jaromil Jireš (VALERIE AND HER WEEK OF WONDERS), Jan Němec (A REPORT ON THE PARTY AND GUESTS), and Juraj Herz (THE CREMATOR)—risked censorship and began to use film to speak out about the hypocrisy and absurdity of the Communist state. Ranging in style from the dazzlingly experimental to the arrestingly realistic, these revolutionary transmissions from a singular time and place stand as models of art as a tool of political resistance.
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