Director:
Tomáš Vorel st.Cámara:
Tomáš Vorel st.Reparto:
Tomáš Vorel ml., Jiří Mádl, Eva Podzimková, Zuzana Bydžovská, Jan Kraus, Ivana Chýlková, Filip Vorel, Lukáš Cína, Jakub Kohák, David Vávra, Tomáš Vorel st. (más)Sinopsis(1)
Kocourek sends his application to the Academy of Arts, Architecture and Design in Prague with the goal to study Graphic Design. He has already been rejected twice because the number of applicants is extremely high and only a handful of the most gifted students are accepted. The beautiful Julia, who also wants to get in the Academy, is helping Kocourek get accepted...However, a lot of complications get in their way! (texto oficial de la distribuidora)
(más)Reseñas (6)
I can’t help it, I didn’t feel sowell after watching Prague Cans. In case of The Can, I had a few laughs and at the end told myself that it was quite a good comedy. This movie, however, cannot be considered a comedy, unless you accept the very dark humor, typical for the Sklep Theater. It features a perpetually drunk mother, a father who has half the bigwigs of Prague eating out of his hand and a girl who sells her body for cash. Three classic motifs that make a normal person’s stomach sick. Add in the gloomy rap music by Vladimir 518 and a story that has hardly any plot, which however isn’t really a problem in a movie like this. Anyhow, the actors Mádl and Kraus are the best thing in this flick. I would like to see Kraus in more movies.
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The testimony of a generation (which, more than by the content and message of the movie, is delivered by Paster Oner and Vladimir 518) about how youths have nothing to do and so they get up to all sorts of mischief. And nor does middle aged Vorel know to do about that and so he gets up to all sorts of mischief. But unfortunately mischief behind the camera for an audience. It accepted all of the problems of part one from start to finish (annoying fade-outs after every other scene, grr!) and the same as in part one, everything stands or falls with Mádl alone; luckily (again the same as part one) it stands more than falls. If I were to mention a point where this movie falls, it’s Vorel Jr. and his non-actor tongue in a twist; which, unsurprisingly, applied to part one. As a result, on paper it is somewhat more serious and better than The Can, but in practice it is exactly the same with a different title; interesting to see, but there’s not much to it.
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Unfortunately, Vorel or no Vorel, this is just another piece of crap from the family of extremely failed Waking Up Yesterday -style films. The defining factor is once again mainly Mádl, and then one pose next to the other, followed by Kohák sitting in a café. And sadly, this was looking like a second interesting project from the university environment. That’s too bad.
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Compared to The Can, Prague Cans is much more dramatically tuned. The comedy elements have mostly disappeared and the storylines full of tragicomedy and bitterness have come to the fore. The film features quite aggressive music, which enhances the bleak atmosphere and the fate of the main characters. I was most impressed by the performance of Zuzana Bydžovská, who appears only a couple, but her performances made a strong impression on me. In short, not a bad film for Czech standards and it doesn’t do a disservice to the genre.
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Aunque considero a Gympl literalmente como una de las mayores estupideces checas de los últimos años, le di una oportunidad a Vejška. La muestra se veía bien y en varias críticas leí que era una película mucho más madura y además Gympl ya tenía sus tres aspectos positivos: Mádla, Krause y la música adecuada. Estos tres aspectos positivos también se aplican a Vejška y se suman otros, una agradable sorpresa es Eva Josefíková y también el hecho de que no es la pareja de Mádla en la película. Personalmente, odio los edificios manchados y destruidos, pero en Vejška afortunadamente en su mayoría hacen grafitis en edificios feos o en áreas designadas en espacios públicos. Estoy de acuerdo con la crítica de que Vejška no es cohesiva, es más bien una mezcla de escenas cortas, algunas graciosas, otras más serias. Es genial que Vorel haya limitado al mínimo los absurdos, la exageración y las tonterías de Gympl, por lo que se pueden pasar por alto fácilmente. Solo espero que Zuzana Bydžovská no reciba una nominación o un premio nuevamente, y tal vez sea por razones misteriosas, como este año por su papel principal. Tengo la sensación de que basta con que grite con su voz, se desnude o entrecierre los ojos, y las nominaciones a todos los posibles premios le llegan. La reconozco como una buena actriz, pero no la sobrevaloraría. La impresión general es muy positiva, personalmente bastante sorprendente, y me alegra no haber ignorado Vejška debido a la mala experiencia con Gympl.
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It's not as fun as the first one anymore, but I really appreciate Vorl's observation of characters and exposing critical points of society. Here we have beautifully disgusting characters, about whom you know they have dozens of prototypes, which almost makes you sick. Moreover, it's great to see how some characters have evolved since the first installment and how some are unable to escape from their messed-up world and change anything.
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