Vaut-il mieux vivre dans une heureuse ignorance ou faut-il choisir la vérité et subir les conséquences de la connaissance? Les époux Eva et Josef se trouvent dans une pension de famille. Eva, intriguée par Robert, un mystérieux étranger, visite sa chambre en cachette…
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Even though the psychedelia might be appropriate for the time period, it just brings up memories of cheesy rock videos like 'In a Gadda Davida'. If the visuals here had a good tune behind it I might watch it for a couple of minutes. But not a whole movie. I'm a film lover, not a historian.
Strange world we all live in sometimes, although only Chytilova could create such beauty & wonder in this film. Like her pervious DAISIES, she uses all kinds of unique techinques in the filmmaking process (note the opening sequence!) and tells a different kind of story of people living in this world different from the one with Adam & Eve. Whimsical, sensual, and bit dark - it was made the same year Jires did VAHOW.
Flower power, psychedelism, peace & love all that was new and fine in the late sixties.
This film may have been fine then, for Polish & Czechoslovak viewers.
We had Courrèges, Jean-Christophe Averty, Mary Quant, Vidal Sassoon, Carnaby Street, the Beatles or Brian Jones's hair cut & all that was a tremendous fashion and energy.
45 years later it has kept a fresh spirit, but it looks also outdated and frankly boring.
Every bit as much a masterpiece as the immortal DAISIES, FRUIT OF PARADISE, made in the aftermath of the Soviet invasion (and consequent clampdown) of '68, is even more fundamentally a dissident work. Chytilová is the right kind of anarchist: she is on the side of untrammeled drives and irrepressible flows (pure Creation). Chytilová frames feminine desire around the allegory of Original Sin. Fruit > knowledge.