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From its initial year Summer Film School Uherské Hradiště has been perceived as an unconventional type of the festival. There has never been need for running monstrous competitions or rolling out the red carpets. Manifold tendencies, programme focuses and interests have laid strong emphasis on particular topics that dominated anually. As a result, since 2008 the course of Summer Film School has gradually aimed at clear programme sectioning.
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The SFS programme consists of six main regular sections:

Focus – thorough review of the history, development and dominant trends of the national cinematographies (this section introduces outstanding personalities, topics and movements of a chosen national cinematography)

Spectrum – handles with the world cinema burning issues, with those that shaped the image of contemporary film, it focuses on up-to-date questions of current society

Inventory – this programme section presents vintage and classical films retrospectively or in chapters; the motto of the section is: "Get the archives back to silver screens!"

Visegrad Horizon – this intersection is dedicated to the countries of the Visegrad Four, it underlines their common themes, legends and talents and evaluates the latest film events

AČFK Presents – AČFK (Association of Czech Film Clubs), an organizer of the SFS festival, holds strong position on the Czech film distribution market. SFS is a highly exceptional occasion for the reruns, premieres and film previews (with the attendance of guests)

Special Screenings – this section serves as a platform to the special types of screenings that do not fit into any other section



FOCUS | The Philippines

For a long time, the Focus section has been dealing only with the European national cinematographies. This year the Summer Film School organizing team has set off for more distant lands to learn more about special characteristics of one of the most inspiring Southeast Asian cinematographies. The programme is again segmented into several subsections, each of them being dedicated to various currents of the Philippine cinematography: Lino Brocka‘s films (which used to be part and parcel of the Cannes Festivals at the turn of the 1970s and 1980s), a motive of a Filipino hero (originating from the Philippine turbulent history), some of the jewels of genre films (the Philippines are the promised land of all kinds of oddities and genre whims) and Philippine contemporary art (Brillante Mendoza, Lav Diaz and Raya Martin have conquered the biggest festivals in the world).

INVENTORY | Retrospective: Luchino Visconti

Luchino Visconti’s fundamental years end with number 6. He was born in 1906 and died in 1976. That’s why we can commemorate the two of his anniversaries at once. Despite the fact that, for the sake of making films, he had to disentangle himself from the bonds of aristocratic circles, and hadn't begun his career until he was 36, his early films clearly signalized the coming of a great narrator, who planned to talk about nothing less than love and death. And, being an ardent lover of literature, of Mann and Proust in particular, he was always highly committed, having expressed himself solely with the use of the film techniques. The SFS collection of his fourteen feature-length films is formed as an ideologically and aesthetically coherent whole. Welcome – at least for one week – to the world according to Visconti!

INVENTORY | Film Reader: Ealing Studios

“Ealing Studios” is a crucial term in the history of the British cinematography. It is the oldest continuously working studio facility for film production in Great Britain. It contributed a great deal to the “Golden Age” of British Cinema in 1940s and 1950s, merely thanks to Sir Michael Balcon, who imprinted Ealing films with the notions of national pride and social responsibility, and Albert Cavalcanti with his inimitable style of blending the documentary urgency with the surreal poetic touch. It was especially Ealing’s dramas and comedies that won Ealing an undying fame.

INVENTORY | Film and Live Music: Silent Sci-fi Movies

The order number of 42. Summer Film School prods us to take a closer look at the beginnings of sci-fi films. In The Hitchhiker’s Guide to the Galaxy, number 42 is “the answer to the ultimate question of life, the Universe, and Everything.” While the main boom of sci-fi films came in the 40s and 50s, the early-bird attempts had appeared long before that during the silent era. Apart from Meliés’s Journey to the Moon and Lang’s Metropolis there were many titles that had helped this genre blossom. Adventurous journeys into the Universe were mentioned in Yakov Protazanov’s Aelita: Queen of Mars, Fritz Lang’s Woman in the Moon or Holger-Madsen’s Trip to Mars, there were those who dealt with unexpected consequences of scientific experiments – Henrik Galeen’s Alraune or René Clair’s While Paris Sleeps. And of course we should not omit the robots, so you may look forward to The Mechanical Man by André Deed too.

INVENTORY | Midnight Delights: Roger Corman, a King of the Bs

Despite the fact that he had never stepped out of the field of low-budget B-movies, Roger Corman became one of the most influential individuals of the US cinematography. He was awarded an Honorary Academy Award and won a standing ovation in 2010, partly due to his tremendous help and support of young fledgling actors and directors such as Jack Nicholson, Martin Scorsese, etc. Corman’s filmography spanned more than  sixty years and contains more than four hundred titles. This year’s Midnight Delights will focus on the time period from 1950s to 1970s. It will take off in the era of drive-in theatres and land at the birth of video. In the company of bloodthirsty monsters, half naked women, addictive drugs and hair-raising actions, you will be acknowledged with the diversities of trends and those dominating B-movies subgenres, which were strongly influenced by Corman’s attitudes.

SPECTRUM | Mumblecore

Following the last year’s section dedicated to Berlin School, we are offering you another art cinema movement. It emerged in the USA in 2003, when Andrew Bujalski labelled his film Funny Ha Ha with a neologism “mumblecore”. The term was adopted for the group of low-budget and even no-budget films produced by artists around Bujalski, Joe Swanberg or Duplass brothers. Mumblecore represents the essence of contemporary American, genuinely independent film. The Summer Film School selection will cover all crucial genres (relationship dramas, road movie, buddy comedy), motives (heroes searching for identity), and actors (Greta Gerwig).

SPECTRUM | WTF: Point of View Shot

Last summer’s unreliable narrator will be replaced with another term from the film theory, or rather a filmmaking strategy. The point of view shot aims towards enhancing the viewer’s experience by using something really extraordinary. The films being shot from the perspective of their main protagonists provide a specific type of experience, which might sometimes be hardly acceptable. It disturbs you out of your save position of a voyeur. To be honest, there are only a few films working with the point of view shot. But it can still serve many purposes, both in the style and narration. On more than a dozen of examples, we will strive to prove it’s not just a one-sided tool. Our journey will start in the 1940s and end in recent history, horrors will alternate with intimate dramas, authorial films with blockbusters.

VISEGRAD HORIZON | Czechs Abroad: Ivan Passer

Intimate Lighting was the only feature-length film Passer had managed to finish before he defected to the west. Apart from that, his merits are clearly visible in all Forman’s “Czech” films made in collaboration with Jaroslav Papoušek. His overseas films include Born to Win and Cutter’s Way. The freedom for work was always highly important to Passer, but it often collided with different opinions of production managers. That’s why he launched close collaboration with the TV production companies, for instance with HBO on drama film Stalin.

VISEGRAD HORIZON | Polish Film School

Polish Film School is a brilliantly cut diamond in the Polish cinema. It is an art movement that enriched the world’s cinematography with several exceptional personalities, namely Andrzej Wajda, Roman Polańsky, Jerzy Kawalerowicz or Zbigniew Cybulski. During the late 1950s, Polish School films were gathering success at festivals and highlighted the existence of Eastern European cinematographies. Polish School is an extraordinary testimony of a young generation about the post war era, as the authors frequently reflected upon their personal war experiences. But there were plenty of other issues too. Visegrad Horizon will offer you a comprehensive overview of this exceptional movement.


The SFS programme creates opportunities to the fledgling artists who have recently graduated or still study at a film school in the Czech or Slovak Republic. Six artists – Michaela Poláková from FAMO in Písek, Václav Huleš from UTB in Zlín, Martin Hnát and Michal Blaško from VŠMU in Bratislava and Martin Kuba with Filip Rejč from FAMU in Prague – all these will arrive and present their works.

VISEGRAD HORIZON | New Visegrad Films

The best of the best from the Czech Republic and culturally tied countries! The Czech films are getting a second win; they are screened at festivals and reviewed in the world's most respected magazines. San Sebastian and Tokyo gave reward to Family Film, this year’s Berlinale section Panorama was opened with I, Olga Hepnarova. We Are Never Alone won Audience Award in Berlin. Tomasz Wasilewsky’s United States of Love and the tragic Demon by Marcin Wrona will cover for Poland, while Hungary will be represented by Bence Fliegauf’s Lily Lane or Oscar-winning Saul’s Son.


Year 2016 is flourishing with anniversaries. And there are some that should not be put aside. Let’s get back to the works of four-hundred-years old William Shakespeare, to Vladimír Merta or Petr Jarchovský, let’s talk about Václav Havel’s books as well as other works and artists, who are worth remembering.

AČFK Presents

Besides organizing the Summer Film School festival, Association of Czech Film Clubs fulfils the role of a film distributor. It focuses on art house films and runs Project 100 where it provides space for the digitalized versions of the classical Czech and foreign movies. This section will summarize the last year of distribution and it will introduce the titles for the upcoming autumn.

Open-air Cinema Smetanovy sady | Czech Film: All Singing, All Dancing

Operettas were enormously popular at the start of the 20th century. In 1930s there was a massive rise in the usage of radio and gramophone. Yet, for the first Czech musical films we had to wait until the 1960s. The golden age of the Czech popular music and pop culture gave birth to the first film songs (equivalent to the music videos) and heralded creation of Rychman’s Starci na chmelu. The critics were unmerciful. They accused the authors of plagiarism and of stealing the idea from West Side Story. But as the time showed, none of the subsequent attempts outstripped its geniality.

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