The Insanely Sad Princess

  • November 18, 2016 / 19:00
  • December 4, 2016 / 14:00

Director:  Bořivoj Zeman
Cast: Helena Vondráčková, Václav Neckář, Bohuš Záhorský
Music: Jan Hammer
Czechia (Czechoslovakia), 1968, 86’, color
Czech with Turkish subtitles 

This is a witty and charming, Pop-Art fairytale featuring Czechoslovak popular cultural icons. The film was shot in 1968. Then-20-year-old composer Jan Hammer after the Soviet occupation of Czechoslovakia immigrated to the US where he continued composing; the other stars Helena Vondráčková became the most applauded diva of the Czechoslovak official pop-music scene. In communist Czechoslovakia the talented filmmakers took refuge from politically problematic films in the genre of fairy-tales, which became extremely celebrated and well known in the Eastern block.

Marketa Lazarová

Marketa Lazarová

The Insanely Sad Princess

The Insanely Sad Princess

The Return of Dragon

The Return of Dragon

Birds, Orphans and Fools

Birds, Orphans and Fools

The Copper Tower

The Copper Tower

Johnny Corncob

Johnny Corncob

Ballad for the Bandit

Ballad for the Bandit

Stephen the King

Stephen the King

The Double Life of Veronique

The Double Life of Veronique

All That I Love

All That I Love

The Queen of Silence

The Queen of Silence

Balaton Method

Balaton Method

Trailer

The Insanely Sad Princess

Fluid Identities  Creating an Identity / Hybrid Identities

Fluid Identities Creating an Identity / Hybrid Identities

A firm believer in the idea that a collection needs to be upheld at least by four generations and comparing this continuity to a relay race, Nahit Kabakcı began creating the Huma Kabakcı Collection from the 1980s onwards. Today, the collection can be considered one of the most important and outstanding examples among the rare, consciously created, and long-lasting ones of its kind in Turkey.

It’s better to burn out than to fade away

It’s better to burn out than to fade away

In 1962 Philip Corner, one of the most prominent members of the Fluxus movement, caused a great commotion in serious music circles when during a performance entitled Piano Activities he climbed up onto a grand piano and began to kick it while other members of the group attacked it with saws, hammers and all kinds of other implements.

Return from Vienna

Return from Vienna

Józef Brandt harboured a fascination for the history of 17th century Poland, and his favourite themes included ballistic scenes and genre scenes before and after the battle proper –all and sundry marches, returns, supply trains, billets and encampments, patrols, and similar motifs illustrating the drudgery of warfare outside of its culminating moments.