Réalisation:
Karin Krajčo BabinskáPhotographie:
Martin DoubaActeurs·trices:
Sandra Nováková, Marie Doležalová, Petra Nesvačilová, Oldřich Hajlich, Erik Kalivoda, Lenka Vlasáková, Mario Kubaš, Filip Blažek, Matěj Ruppert (plus)Résumés(1)
C'est l'été et le début des vacances. Karolina, Vendula et Iska, 18 ans, et le bac en poche, décident de profiter de leur nouvelle liberté pour rejoindre la Hollande en stop. Rythmé par les abus d'alcool, les expériences sexuelles et les excès en tout genre, ce voyage va éprouver leur amitié et révéler leurs différences. Alors que Karolina ne pense qu'à séduire les garçons, Vendula aimerait avoir confiance en elle. Iska, elle, va choisir d'assumer ouvertement le désir qu'elle ressent pour sa meilleure amie... (texte officiel du distributeur)
(plus)Critiques (3)
The Czech Republic needed this sort of film. Thanks to the sympathetic young actresses, the film broke through in places where less attractive faces would have caused a problem. It makes me happy that after only two years, each of them has already shown how independent they are.
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Confused like a hysterical girl, inexplicably distant from the audience at times and full of everything and nothing at the same time. Nevertheless, a pleasant road movie with the chance to deeply move more sensitive souls. However, the three kisses were very difficult for me to endure. Especially at the beginning, the screenplay awkwardly transitions from one scene to another, the heroines are annoying with their rehearsed babbling, and I couldn't understand what I should feel when the girls finish swimming and rejoice in a sense of complete relief after fifteen minutes. Nothing special has happened to them yet, so it's a bit early for any kind of cleansing. At that moment, I wouldn't believe that I would connect with Karin Krajčo Babinská's melancholic direction and eventually understand Iška to her deepest core. I don't have a problem with finding my way, I don't act offended when someone speaks to me, and I'm currently successfully avoiding any mental issues, but her tender desire for peak (albeit fleeting) moments started to consume me more and more. To the point where I almost completely succumbed to the repeated moments of emptiness. Jan P. Muchow's precise music contributed the most to that. Criticisms slowly fade away during the credits because the emotions outweigh rational objections. Yes, Vendula is to blame, the journey to the Netherlands is a rather unnecessary symbolic goal, and the message of the "Ecstasy of Freedom" didn't really resonate with me either. But sometimes reality surpasses everything.
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Sure, some of the dialogue was pretty weird, I almost shook my head off in disbelief during certain scenes (such as the transformation from a feeble drunk into an athlete, or Vendula, shortly after being almost raped, desperately calling out: "Where are the guys?"), but despite all that, it was a film that I was able to watch without wanting to blind or hang myself, and which left a rather positive impression on me compared to most contemporary Czech cinema.
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