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Patrik HartlDrehbuch:
Patrik HartlKamera:
Tomáš SyselMusik:
Marek DoubravaBesetzung:
Martin Pechlát, David Švehlík, Hynek Čermák, Martin Hofmann, Jana Kolesárová, Zuzana Norisová, Kristýna Boková, Petra Polnišová, Daniela Kolářová (mehr)Inhalte(1)
Four middle-aged friends admit that they don`t live as they imagined. They decide to solve their crisis with a provocative game with almost impossible tasks. How does a man find out if he’s a real guy? How do they prevent the corrosion of their ideals, the fading of dreams and the shrinking of testicles? Everyone will try to find the courage to do good crap as if they were young. Or at least the courage to say what you really think in all circumstances. Whoever completes the task is not a bastard. (3Kino Fest)
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Kritiken (8)
Ich kann mich an keinen tschechischen Film erinnern, der so hochkarätig besetzt war, dass selbst die kleinsten Rollen von führenden tschechischen Schauspielern gespielt worden wären. Außerdem hätte das zentrale Quartett nicht besser ausgewählt werden können. Dies steht dem Film am meisten. Natürlich hatte ich das Buch gelesen, wie alle anderen von Patrik Hartl, aber es war schon lange her, so dass ich mich nur bruchstückhaft erinnern konnte. Wenn die Verfilmung der Autor selbst in die Hand genommen hat, gehe ich nicht davon aus, dass dies in einem Exzess oder einem Fiasko enden könnte. Für mich passte der Film zu meiner Stimmung, und ich betrachte ihn als bittersüße Wirklichkeit vieler Menschen.
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One of the best Czech films (comedy) in recent years. Great characters, mid-life crisis, funny, touching, entertaining and well acted. I recommend it. The film and the premise are on par, and most importantly it features about 50 Czech well-known actors, which was a damn pleasure. Hofmann again is the best. 8/10.
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Composition of chatterboxes and perpetually dissatisfied men, who would like everything and everyone to fall into their lap on one side. On the other side, a sad composition of women who dare to occasionally ask something of men. And when they visually or by expectation deviate from the norm, they voluntarily wait in the corner or even beg. Patrik Hartl may be writing and filming erotic or life desires and goals, but the result is so unpleasantly toxic that I will rather avoid him in a wide arc. The author's massive popularity in a package of almost-values presented is quite terrifying to me, but unfortunately also explanatory within the aggressive twenties.
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In the last two days, besides this movie, I've also seen Sweethearts. And that kinda forces me to give Prvok and Co. an extra star, because the difference is just huge. Okay, sometimes I didn’t quite catch the humor, but otherwise I enjoyed it quite a bit. A good ensemble, the charismatic Hofmann... I'll gladly give it another go and I’m looking forward to seeing Patrik's next film. More than his next book.
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Patrik Hartl, much like Radka Třeštíková, writes popular bestsellers. He doesn't particularly think about things, he lives off his practice from Studio Dva, and he knows what appeals to a certain type of audience. He layers situations, calculates reactions to them, and is content. Likewise, he can turn his popularity into a similarly pleasing film, where even the smallest role is played by renowned actors. Appearing in Hartl's work is important. The story of Bet on Friendship unfolds in Prague in areas that viewers intimately recognize. They also recognize situations like "the older son lives with his mother," "the father leaves the family," "marital infidelity," or "I'm afraid of responsibility." But they don't know anything else, and therefore, for example, the storyline with the drag performance describes an old model - the husband performs Heidi Janků covers, so isn't he possibly gay, and is our whole life a lie? The plot culminates in an awkward scene with saleswomen struggling to sell women's dresses and with nonsensical risky pregnancy. This is how similar plots were written in a pseudo-humorous style years ago; today, it's somewhat primitive and only points out that Hartl hasn't emerged from his cave in a long time. It's all false, just like the collective pretense of journalists who have deliberately chosen not to mention that Hartl's previous film was a total flop. It would disrupt the narrative of the author who is currently popular.
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