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Death on the Nile has always had a bit of something luxurious, fantastic, and amazing within it. The adaptation with Ustinov made the brand famous. Later there was a series with Suchet. And this year, we can tick off the excellent new version with Branagh, which I waited for during the entire pandemic. For a better experience, it was of course ideal to watch the new Murder on the Orient Express (2017). I wish there were a few more wonderful feature films like this, because Branagh's relationship to the world of Agatha Christie is not only smart, but respectful and courageous at the same time. It offers eye-candy shots of the whole Nile cruise and directorial work with very interesting actors. In addition to the statuesque Gal Gadot, we get the classically perfect Annette Bening, the Jennifer Saunders and Dawn French duo…

All the transcriptions of Daughter of the Regiment have posed a challenge to generations of filmmakers and theater artists. The original opera was written for the Opéra-Comique in Paris in 1840 and consolidated the success of Gaetano Donizetti. It was set during the Napoleonic Wars in the early 19th century, which became a thorn in the side of many stagers who had, and still have, a desire to change the background politics to suit the situation at hand. The time and place of the plot have changed in various ways. It is therefore not surprising that in Austria in 1953 it was important for a change to strengthen the role of the Tyrolean mountains in the style of Heimatfilm and to create the ideal conditions for the reunion of Liebespaar Robert Lindner and Aglaja Schmid, who had already enjoyed success together in Der Seelenbräu in 1950. Finally, an ignorant viewer could easily perceive the entire film as just another romantic berg-film shot on Agfa and be maximally satisfied. How important the theme of Daughter of the Regiment was in the German language region in the early 1950s is evidenced by the simultaneous creation of the German and Italian versions alongside this Austrian one, so it actually went into movie theaters in three different versions in one year.

Shortly after the premiere of the documentary The Law of Love comes another story about a marriage with impediments. I suppose it says something in that the institution of marriage is constantly changing and just as the view of the world and the people in it is changing, it is clear that different couples want to enter into marriage than in the past. The stories of contemporary couples are somewhat more varied than the classic demographic nonsense of the pre-revolutionary era, when we had the youngest brides in the Czech Republic after Turkey. Gone is the model of rushing to a marital loan.

From time to time I watch various old talk shows or other similar formats from the time when there was nothing like that in the Czech Republic. And among the old interviews I came across Late Night with David Letterman with Paulina Porizkova from 1986. At that time, this famous model of Czech origin was experiencing a big breakthrough because she played a big role in this film and her colleague Sally Kirkland was nominated for an Oscar. Actually, the film opened in April 1987 and Oscar night wasn't until April 1988, but these things are set in motion long in advance. Kirkland had competition in Holly Hunter, Meryl Streep, Glenn Close and Cher (who eventually won thanks to Moonstruck). So much for the illustration that Anna is not a mistake or an incompetent B-movie. The production of Anna must have been extremely interesting, because for both Jerzy Bogajewicz and Agnieszka Holland the main themes of the film were very personal. Bogajewicz emigrated in 1976 and Holland is one of the famous FAMU students from the late 1960s and early 1970s. The fate of Anna and Kristýna was inspired by the life experiences of Elżbieta Czyżewska and Joanna Pacuła, and it can be assumed that the variation of the Polish-Czech theme was written on the body of the newly-emerging Porizkova. The resulting film is not uninteresting and is very valuable in terms of the development of the Western view of European realities.

Tomáš Magnusek is a phenomenon. He can put together projects that the pros won't dare try. He is not afraid of topics that are lacking in the mainstream. And he doesn't forget the actors at the end of their careers. It's incredible how the magnum opuses get better film by film, it's still not quite the same, but no one else has the balls to put together a group like that.

Lily Collins as Alice crossed with Cinderella in a world full of Parisian stereotypes and clichés. A world of fashion, the joys of youth, sex, and understanding between nations. Wonderfully relaxing, attractively entertaining. Incredible costumes. An eye candy affair. Yum. Philippine Leroy-Beaulieu will be 60, and years ago she shone in Three Men and a Baby (1987). No other proof of ageless French women is needed.

All in all, a cute, fun and endearing modern series that is exactly what Sex and the City was like in the 90s. It’s incredibly trendy. But times have changed and instead of a newspaper columnist, the driving force is a creative girl on social media. Yet the primary genre is comedy, and some viewers forget that. Therefore, Emily in Paris is not, and was never intended to be, a semi-documentary probe into the lives of a real community of foreigners living in Paris. It's more like Scaris: City of Frights for adults. There will be a Season 3 :).

In 1945, many films were destroyed, including Krňanský's Song of Life (1924), The Story of One Day (1926), and The Mire of Prague (1927), but only fragments were left for the future. At the end of the 1950s, with the author's participation, this joint edit was made under the title A Fading Romance. Even back then it was considered an emergency solution, and today it is fascinating to find this particular edit somewhere deep in the #Edisonline film library. From today's perspective, the choice of additional music and the use of modern transitions between individual shots and intertitles is very distracting. But at the same time, it is a joy, because at least something has survived. In Song of Life, there is a very interesting etude with Růžena Hofmanová, who aspired to succeed Suzanne Marwille. The Story of One Day with Mary Jansová suggests a very interesting retelling of the classic novel by Ignát Herrmann, one of the most attractive writers who inspired filmmakers in the genre of old Prague pictures. And finally The Mire of Prague with the brilliant Bronislava Livia, based on the now cult novel by K. L. Kukla, confirms the current of opinion that says that this film could boldly eclipse Battalion, Such Is Life, and Tonka of the Gallows.

A below-average film with Sandra Bullock, lifted from the bottom by the presence of Betty White and a bit of that Massachusetts landscape that pretends to be Alaska. Ryan Reynolds? No comment. The publishing house potential was untapped.

The gap between the fourth and the "fifth" film was filled by the MTV series, but unfortunately, it didn't work. So, after 11 long years, we get another great Scream. The main trio is back - Neve Campbell, David Arquette, Courteney Cox, and Marley Shelton (and a few other casting surprises) from the fourth film. Current topics are requels, legacy sequels and elevated horror. Among the new faces, actresses Jenna Ortega, Melissa Barrera, Mikey Madison (that girl has Once Upon a Time in Hollywood and The Addams Family in her filmography, unreal), and Jasmin Savoy Brown did great. I also enjoyed it a lot thanks to the perfect atmosphere and the accompanying program in Edison.