A Guide to The Czechoslovak Avant-Garde
Graphic by Beyza Durmuş
If you’re like me, your interest in film has escalated from an innocent hobby, to an obsessive and all-consuming devotion. When your friend mentions some obscure movie in passing that their Spanish teacher forced their class to sit through, you can’t help but exclaim how lucky they were to watch some Almodovar in class. Letterboxd is practically attached at your hip, and there is no movie, even from the depths of your childhood, that you haven’t rated. I find that this hobby has surpassed the need to just watch films, but also to research. I feel vulnerable if someone mentions a director whom I have never heard of, or a film with a Letterboxd rating over 3.9 that isn’t already saved in my watchlist. And, my fixation on film facts is very film bro centric - possibly a facet of my internal male gaze, but that’s a story for another time.
“So what’s your favorite Tarkovsky, then?”
“You haven’t seen all of Ingmar Bergman’s filmography?”
As a self-proclaimed film bro, it can be hard to defend myself against my white male counterparts. For this very reason, I wanted to guide others through an introduction to the Czechoslovak New Wave.
These highly-regarded films revolve around gender dynamics, fascism, and politics in the mid 20th century. I’ve compiled four quintessential films of the movement to get any viewer started, or for the perfect rewatching marathon.
The Firemen's Ball (1967)
You may know Miloš Forman for his success with his later films One Flew Over The Cuckoo’s Nest (1975) and Amadeus (1984), but his earlier works are also well worth your time. This 73-minute political satire is filled with all the chaos of a usual Forman flick, centering around a ball organized by the firemen of a small town. Anything and everything that can go wrong, does. Rumored to be an allegory for the flawed Czech leadership, the film was banned forever in Czechoslovakia, which is clearly a sign to go and watch it.
Valerie and Her Week of Wonders (1970)
I would describe this film as psychedelic and spooky. At its core, this fantasy/horror film is a coming-of-age story of teenage Valerie and her sexual awakening, but beyond this, it takes you through a carnival ride of twists and turns, leaving you as confused as Valerie regarding what’s real and what’s fantasy. Vampires, witchcraft, and otherworldly creatures enthrall this disorienting dream of womanhood and atheism. This gothic fairy tale is an enigma for you to enjoy, replete with social criticism and commentary on morality.
Daisies (1966)
Trying to summarize this film to a friend, I called it a, “Czechoslovak experimental feminist film from the 60s”, which is not wrong, but perhaps sells Daisies a bit short. It’s a comedy, a prank compilation, and cringe fest. Anarchic teenage girls, Marie #1 and #2, decide to rebel against the materialism of their world, taking nothing seriously, and taking everything for themselves. If everyone is so spoiled, why shouldn’t they be as well? Refreshing and absurd, the two indulge themselves and take nothing seriously in this profound triumphant feminist outcry.
The Cremator (1969)
Perhaps it is the novelty of such unconventional cinematography in a film from the 60s, or maybe the contrast of such striking scenes with the terrifying messages they convey, but The Cremator is at once a sight to behold. Odd, death-obsessed cremator Kopfrkingl holds dangerous ideas about the relief that death, (and even murder), brings from human suffering. Descending into madness alongside the rise of the Nazi party, Kopfrkingl’s deranged notions turn to actions, leading to a shocking conclusion in this black comedy about totalitarianism and the banality of evil.
As you can probably tell, the Czechoslovak avant-garde is characterized by experimentation with unconventional editing, photography, and even sound. Coming from the 60s and spilling into the early 70s, these films all hold a somewhat psychedelic energy, with surreal imagery and absurd storylines. The contents of these films are also crucial, many of which tackle large-scale institutions or ideologies, often deemed to be evil, from a childlike standpoint. The radical works of the Czechoslovak New Wave responded to the hypocritical Communist governance in a certain time and place with tact and resilience. Their political resistance faced censorship and backlash, so many directors obscured these themes within a strong allegorical narrative.
Financed by a national film industry, many Czechoslovak filmmakers had the support of state funding and studio access to promote such masterworks of art. These films tell activist stories in the most primal sense, taking a stand for the weak or the outcasts of society and poking holes in the narratives of the longstanding power structures and dominating people. Clearly a revolutionary moment in cinema history, as well as history in general, the Czechoslovak avant-garde has given us some of the greatest gems for our viewing pleasure that give us a glimpse into a historical moment defined by political tension and resistance.