Oldrich “Fajolo” Fajták (Marián Bielik), a student who directs quasi-existentialist verbal abuse at his girlfriend Bela Blažejová (Jana Beláková), takes off to a formally-volunteer summer work camp at a farm, actually mandated by the authorities, which inspires both him and Bela to start a relationship with someone else. A parallel story peels layers off Bela’s permanently tense home life marked by her blind mother’s (Eliška Nosáľová) studied helplessness, and her father’s (Andrej Vandlík) revealed infidelity and past break with his father (Adam Jančo) who happens to live in the village where Fajolo is finding some consolation in the arms of a fellow student-volunteer Jana (Oľga Šalagová). As Fajolo begins to pry into Bela’s grandfather’s secrets, she, in turn, allows her new boyfriend Peťo (Ľubo Roman) to read and deride Fajolo’s discursive and indirectly remorseful letters from the farm. —Slovakian Film Festival
Štefan Uher (June 4, 1930, Prievidza − March 29, 1993, Bratislava) was a Slovak film director, one of the founders of the “Czechoslovak New Wave”.
He graduated from the FAMU (Film and TV School of the Academy of Performing Arts) in Prague in 1955. Among his fellow students were future directors Martin Hollý Jr. and Peter Solan who also began to work at the Koliba film studios (then called the Feature Film Studio and the Short Film Studio) in Bratislava after graduation.
Uher first worked in the short film division. The Sun in a Net was his second feature film. His first one was We from Study Group 9-A (My z deviatej A, 1962) about the life of a group of 15-year-old students and their school.
Uher followed The Sun in a Net by two more films with the same author-screenwriter Alfonz Bednár and cameraman − Stanislav Szomolányi, later professor of cinematography at the University of Performing Arts, Bratislava: The Organ (Organ, 1964), and Three Daughters (Tri dcéry… read more
From Peter Hames' Czech and Slovak Cinema : "The film's main strength, however, lies in its poetic approach. The title Sunshine in a Net suggests the impossible ... a bird's nest with eggs floats beside a stone causeway; a youth is outlined on a roof in a forest of television aerials; and children stand on dustbins reaching out towards the sun. The film's story seems to emerge from it's poetic context, and, in particular, the streets and rooftops of Bratislava. The sun and the eclipse suggest a range of associations - life, death, light, dark, love and blindness."