Mág.

The late Vláčil is not exactly ideal, but in the context of the time it is fitting to compare Mág to Jireš's Lion with a White Mane, for example. Taken together, both of these biographies are something we should spend time with. Jiří Schwarz supported the realism of the role by losing weight, Veronika Žilková by studying the states of the tortured soul of the director on the set, and Vančurová and Hrušínský have never recited better. The scenario told retrospectively is also a pleasure. I, therefore, cannot agree with the opinion that this last entry in Vláčil's directorial oeuvre is weak; on the contrary, I value Mág above a number of other films. (2016.08.22)