Kam nikdo nesmí

Obscured flashbacks don't lend themselves well to coherence, and the perpetrator with "decadent" clay socks is revealed almost incidentally. Rather than a crime story, expect a melancholic drama about a man forced by circumstances to let others into places where no one was allowed, and during this disruption of the comfort zone of an aging translator, you'll realize that Eduard Cupák was a sort of Czech Tommy Lee Jones at that time. P.S.: I last saw such a magical combination of music and black-and-white photographs during the opening credits of Malick's Days of Heaven. (11.02.2022)