Requiem pro panenku

Un drama psicológico de un internado infantil sobre una niña inocente que por error termina entre pupilas con discapacidad mental, que son aterrorizadas por malas cuidadoras. Más bien un thriller de explotación puro de una prisión femenina con una atmósfera densa y una música psicodélica como en una película de terror giallo. Desnudez en las duchas, enfermeras crueles y lujuriosas, castigos disciplinarios severos, atar a las camas o a los radiadores, encerrar en sótanos o en jaulas, litros de sedantes, un patio embarrado rodeado por una valla con alambre de púas, una total impotencia, un personaje en blanco y negro junto a otro. Las actuaciones son brillantes, pero el guion tiene muchas debilidades. La cima irónica es, por supuesto, el propio Filip Renč como valiente salvador, quien reprende heroicamente a los bomberos indiferentes y sube por una escalera a las llamas para salvar a los niños en llamas. (26.10.2024)

The door to the world has opened, the filmmakers stopped being afraid and Filip Renč made a movie already in the time between the two republics (the Czechoslovak and the Czech), which is simply unforgettable. I admit that I had a bit of a problem with the filmmaking. Mainly because it takes place in the dark most of the time. But that’s all overshadowed by the story itself, which is quite brutal. And Anna Geislerová demonstrates that her title of the most prominent Czech actress is completely deserved. (13.03.2014)

A strikingly filmed, yet ultimately superficial movie that is far removed from the real events and characters it is based on. Filip Renč is a film professional who excels at directing commercials and music videos, but in feature films, he always tends to lean towards kitsch to some extent. This film is less about genuine drama and more about a carefully calculated play on the audience's emotions. Incidentally, this piece is among the better, perhaps the best, work he has done in feature films. If the film works, it is also due to Aňa Geislerová's presence and the overall smart casting. Overall impression: 60%. (23.06.2006)

I don't like Czech director Filip Renč, or any director without a manuscript. With this film you can understand his youth and post-revolutionary derangement, but it was very hard to get past certain stages of the film. Renč's eternal desire to make something that avoids Czech standards is so evident here, more than in any of his other films, that it reaches a severe spasm at certain stages comparable to the post-revolutionary wave of Vit Olmer (did you get goosebumps just now, too?). To top it all off, he put himself in the male lead role and it really hurts. His total lack of acting talent would be obvious even on a fourteenth videotape copy of a dumbshow grotesque. His playing at being an appealing action hero with his heart in the right place comes across as a preschooler playing detective, and his performance in the final scene oscillates with awkwardness in the fatal consequence of that expression. Slow-motion shots, strange resurrections and, by the finale, the cast of the 1st floor (who on earth was that dude with the horribly whitewashed face in the straitjacket and dice?) make the film a truly contradictory show that gets stuck realizing what the film's possible ambitions were. Because from the very first scene, when a public safety car drives in the gloom along a deserted county road somewhere on the edge of the world, it has the makings of a hellishly depressing atmospheric ride. And the film manages to maintain that bleakness most of the time, before briefly killing it again with some stupidity. Add to that a certain cold rawness to the film, some great production design, and a 14-year-old (perfectly naked in places) Anna Geislerová, and it doesn't come out all that terrible, but it had the makings of 4 stars. Imagining what Michálek or Zelenka would have done with it... ah well. (17.04.2008)