The Seventh Day, the Eighth Night

A television recording of a theatrical production of Alfred Jarry's absurd drama about the gluttonous, gluttonous, compulsive and unscrupulous Father Ubo, who, with the generous advice of his ambitious wife, gets rid of the Polish king and seizes his throne. He establishes a reign of terror in which he only cares about his own benefit, so it is not surprising that the people rebel against him. The recording was made at the end of July 1968 and, thanks to a copy saved from destruction during the normalization period, was first published in 1990.

A day in the life of Arnošt, a soldier staying in Josefov. A sense of desperation permeates the environment as well as the mind of the protagonist. It is sunday, and saturday left just a hangover. Days go by, nothing changes. A metaphor for the political situation in the Czech lands at a time where depicting a soldier as a drunk was considered out of place to say the least.

A successful scientist dares to openly and forcefully criticize the unproductive activities of the institute in which he works. He draws attention to outdated procedures and also to the fact that scientific work must not fall into the abyss of mediocrity and everyday grayness, so typical of the entire society. Will his career withstand this situation?

In the film, the creative forces of personalities from three spheres of art collide. The subtitle "The Game of Love and Hate" refers to the motivation of an old Czech medieval satire, the theme belongs to Antonín Přidal, an expert on this subject. His collaboration with Juraj Herz created a collage of past and present, an updated, sharp satire and a parable about the clash of human qualities that could not but end up in the vault. The music of the Prague Selection - Michael Kocáb and Michal Pavlíček - also contributed to the film's offensive provocativeness - the film was one of the reasons for their complete move to the underground. The dancing chorus of medieval citizens resembles more of a jumble of long-haired maniacs, the edge of a contemporary dump intrudes into the space of a medieval marketplace, and the characters oscillate between the past and the present, whether in their appearance, symbolism or behaviour.

In post-WWII Communist Czechoslovakia, several characters considered bourgeois are sentenced to work in a junkyard for rehabilitation. Among them is a young man who pines for a female convict.

Matylda, who lives in the Czech countryside, is trying to arrange burial plans for her dying husband, Jan. While Matylda hopes to have a funeral for Jan in the small town where they once lived, there are complications. Years earlier, Jan spoke out against the Communist government and was consequently expelled from the town. When Matylda fails to convince a local politician to allow the ceremony, she uses her husband's funeral as a public show of dissent.

Government bureaucrat Ludvik becomes suspicious after several colleagues disappear and he overhears something strange at a cocktail party. Returning home with his wife, Anna, he finds their house under surveillance and spends a fraught night worrying about his possible arrest in the morning. Marital difficulties come to light as Ludvik and his wife attempt to act normal in front of the cameras while dredging up their problems out of sight.

A young teacher is sent to a rural reform school, where he is faced with brutality of the inmates.

A run-of-the-mill family is terrorized by strangers dressed in military garb who invade their private realm.

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Three children are stalked by hired killers after they unknowingly take evidence pointing to the existence of a corrupt international cartel, which has just murdered their father.

Raja is rich but illiterate and enjoys life, and tells his friends to not get married or hold any job. However, he secretly has affairs with married women. Then one day Raja gets married to Champa, and the story enters a serious mode.

Mohana Punnagai is a 1981 Indian Tamil film, directed by C. V. Sridhar and produced by R. P. Sarathy. The film stars Sivaji Ganesan as lead actor with Geetha (Sri Lanka actress), Jayabharathi, Padmapriya, Anuradha and Anandhi as lead actresses. The film had musical score by M. S. Viswanathan.

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