PAVEL ŠTURM
BARBORA MARKOVÁ
FRANTIŠEK JAKUBEC
MARTIN STÝBLO
MARK KARPILOVSKIJ
PAVEL ŠTURM
featuring
and
written & directed by
editing
cinematography
sound
music
production
MILENA STEINMASSLOVÁ,
ALEXEJ PYŠKO
LENKA BREEDING, ALEŠ GREGOR,
TIMEA ČERNÁ, FRANTIŠEK JIRÁSKO,
SÁRA SELUCKÁ
Qualifying round Kroměříž - 1st place in Live action film.
National round Ústí nad Orlicí - 2nd place in Live action film.
Trailer coming soon!
I don’t recall the exact timeline, but in 2017, I toyed with the idea of a Christmas-themed narrative centred around a couple. At first, the storyline involved a grandmother suspecting her husband of infidelity, leading to tension and ultimately either her strangling him or filing for divorce. But honestly, that version just fell flat.
In 2020, I had an epiphany: the story really got interesting right at the end of the script, where the couple decides to call it quits. What is going to happen next? So I ditched the old script and started afresh, building the story from there.
With divorce seemingly everywhere these days, I figured the theme would really resonate. And later on, as the film was nearing completion, I stumbled upon this article about 'silver divorces'. That just confirmed I was on the right track.
No. I have a wife and two kids, and no intention of leaving any of them.
The decision wasn't about money, as I could
barely cover their expenses. Like everyone else on the project, they pitched in
out of sheer passion, offering their talents pro bono.
What ultimately convinced them was the strength
of the script. They were hooked by the concept and impressed by how the story
unfolded, striking that balance between depth and brevity. Plus, they totally
vibed with the characters, seeing bits of themselves reflected in the story. Milena,
in particular, found a personal resonance in the film, having experienced the
pain of divorce in her own life.
I had a pretty clear vision for who I wanted behind the camera and on sound duty. Having worked with Martin Stýblo before and knowing František Jakubec's reputation, I felt confident in their skills. Their backgrounds in filmmaking, especially documentaries, fit perfectly with the style and vibe I was going for with the film.
But it wasn't just about the professionals. I leaned heavily on my friends, especially during the pre-production hustle. Their support was key in shaping the project. And I couldn't forget about my fellow students from the Free Cinema courses in Prague. Jiří Forejt, our tutor, was a godsend during those late-night script brainstorming sessions.
After scouting for a suitable location without success, I was feeling pretty frustrated with our options. It was crucial for the setting to really capture the essence of the grandparents' situation. Then, out of the blue, my wife suggested using our family cottage in the Krušné Mountains. I'll admit, I hadn't even considered it at first, as the place was uninhabitable.
For the next few months, I threw myself into transforming that old house, rallying a team made up mostly of family and friends. We're talking building brick walls, tearing down others, slapping on plaster, painting, hauling in furniture... The hectic pace definitely took its toll on the film's production. We completed the set's construction just the evening before principal photography started. In the end, we managed to shoot the film over three and a half days in the autumn of 2023.
Yes and no. The first day of shooting was a bit of a whirlwind, due to some unexpected delays in pre-production. The set wasn't quite ready, despite everyone hustling to make it happen. You could tell people were feeling the pressure, even if they tried to keep a lid on it. But by day two, things had smoothed out, and I think everyone started to relax and have a good time.
Then, out of nowhere, disaster struck. We'd blocked off a whole day to film this pivotal lunch scene, only to have it all go sideways after just three shots. A saucer handle snapped, sending sauce flying and wreaking havoc on costumes and the tablecloth. It was a total mess, and we were forced to come up with a Plan B. Surprisingly, the impromptu change of plans turned out to be for the better in the end.
Instead of traditional rehearsals I focused on deep dives into the characters and their situations with the actors. We spent a lot of time discussing their motivations, attitudes, and emotions. In fact, I even wrote several pages of backstory for the lead actors, mapping out their lives right up to the point of the story. They really wanted to understand every moment – what happened and why – so we left no stone unturned.
The trickiest scene was when the family arrives, packed with action, and all in one take. I rehearsed that scene multiple times beforehand, and even then, it took us eight takes to get it right. The other scenes were more about nailing down the blocking and finding the angles.
Post-production stretched from October 2023 to April 2024, but the real challenge wasn't the film itself – it was juggling everyone's schedules and finding the time to get the work done. My family struggled because I was holed up in the editing room for days. Then came the sessions for colour grading and a bit of tinkering with the sound mixing too. I guess the guys don’t like me anymore for fussing with every little detail. Whenever they thought we were done, I came up with some new issues. But hey, all that hard work paid off when we finally got the film ready for the festival circuit, starting with Czech Visions.
That’s because we had to cut a portion of a scene out during editing. Looking back, I realize I should've approached it differently in the script. It wasn't until we were in the editing room that we realized the pace was moving too slow. Originally, it was meant to be a playful joke or a symbolic moment, but now it's something you really have to pay close attention to. What happens to the thyme sprig? You might even need to watch the film a few times to catch all the nuances.
I plan to take some time off for proper holidays, and perhaps use the downtime to start thinking about a new story. However, given my pace, I wouldn't anticipate anything new in the immediate future. I need to consider my living, too – the university forces me to apply for Associate Professorship in 2025.
