denicek@kviff.com

Today and tomorrow’sprogram

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A look at this year’s Official Selection

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Festival Mapstrana/page 4

ENGLISH SECTION

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1DIVÁCKÁ CENA / AUDIENCE AWARDDENÍKUVote for the best film of the 47th Karlovy Vary International Film Festival!

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Friday, June 29, 2012 free • strana / page 1

Festival DailyTHE OFFICIAL ENGLISH DAILY OF THE 47TH KARLOVY VARY INTERNATIONAL FILM FESTIVAL

SPECIAL EDITION OF

Dr. Eva Zaoralová Artistic Consultant, KVIFF

Filip Šebek

Helena Třeštíková’s latest long-term documentary, Private Uni-verse, screens in the documentarycompetition, illustrating her signa-ture approach to following subjectsover decades and charting both in-timate secrets and monumentalchanges in their lives. The portraitof the Kettners, an “ordinary”Czech family, took some 37 yearsto make and is already gaining thekind of attention that has made herone of the most respected Czechdocumentarians abroad, a reputa-tion she’s had since her first inter-national success, Marcela (2007).

n Your film was recentlyscreened at the Toronto festival.Were you perhaps afraid thatyou may not have sufficientlyexplained its political context toforeign audiences, in particularthe character of the odious“Normalization” period of Soviet entrenchment after thePrague Spring?

I was not personally present atToronto. The film was represent-ed there by Zuzana Bieliková ofNegativ Film Productions. Shetold me that, judging by the view-ers’ reactions after the screening,the Czech specifics were more orless clear to them. I think thathints such as the protagonistssharing a small flat with twograndmothers for seven years andtheir only chance of decent hous-ing being a dilapidated little housein the border region probably giveit away. We struggled a lot witharchive footage illustrating the pe-riod. I originally wanted the motifof the border to appear throughoutthe film, reminding people of thefact that it was impossible to trav-el and people even got shot on thecountry’s borders. This tied innicely with the post-Velvet Revo-lution period, when Honza startedtraveling and finally settled down

in the Basque Country. But ulti-mately it didn’t work in the film.n How long did the editing

take and how did you manage tosqueeze almost four decades ofthe family’s life into 80 min-utes?

It took a very long time. We hadtons of material but also the Ket-tners’ home videos and countlesshours of file footage. Gradually, itbecame clear that some things didnot work together at all. We hadnice shots of Honza arriving inPrague after spending some timeaway while a demonstration bythe Lennon Wall in Prague is tak-ing place in support of street per-formers. The shots turned outgreat and I was so excited. Butduring the editing we failed to

make them work in the film. Itwas a never-ending struggle aboutwhat to use and what to discard.I often had the feeling that it wasall wrong and it depressed me. Inall, we spent a hundred days in theediting room, which is an absoluterecord for my films.n Are you finally happy with

the film?I am a walking doubt, I con-

stantly doubt everything and Pri-vate Universe is no exception. Sowhen somebody tells me theyliked the film I am over the moon,and when I read a negative reviewI tell myself I didn’t quite pull itoff.n What do you think about

some critics’ objections, sug-gesting the life stories of the

protagonists are less dramaticcompared to your previous filmsand that you show their familylife as a “sea of banality andstereotype”? I would say lifedoes not have to be dramatic tohave depth.

I have always thought the great-est challenge for documentaryfilmmakers is to film ordinaryeveryday life in a way that wouldbe interesting. If a reviewer does-n’t find it interesting, I respecttheir opinion. On the other hand,for me, personally, there are a lotof interesting topics in the film.I hope that if the audiences con-nect to it, they can follow thesame lines of thought as me.n And what are they?For me one of the main topics

of the film is certainty versus un-certainty. The vertical and hori-zontal axes of life, which are pres-ent in every human fate, and everyhuman being needs them to someextent. The horizontal axis isabout following well-troddenpaths, surrounding yourself withthings you like and not standingout in the crowd too much. Theother, vertical line is about push-ing boundaries and trying out newstuff even though it might be dan-gerous and unsafe. Which is thecase of Honza, who decided totravel the world and experienceuncertainty and something newevery day, unlike his parents.That’s why we chose the archivefootage of [popular communist-era] singer Karel Gott, who sym-

bolizes security and an attitudethat will always yield success onthe one hand, and, on the other, ofthe universe as a symbol of the hu-man need to constantly try outsomething uncertain.n From the edited archive

material, Karel Gott comesacross as a very shrewdchameleon who is able to con-form to every period. Do youagree with that?

The idea to use Gott was in-spired by a joke that was popularin the 1980s during the iron-fistrule of President Gustáv Husák.“How will Husák be rated in 50years’ time? As an insignificantpolitician in the era of KarelGott.” Which is true, because wereally lived in a Karel Gott era. Heis a figure who will pop out some-where, whatever you do. I was also amused by the fact that inevery situation he is always along-side the winners. Be it the shotwith [the dissident émigré singer]Karel Kryl at a Velvet Revolutiondemonstration on WenceslasSquare or his excitement over thefact that [Czech] cosmonautVladimír Remek was going totake his songs into outer space.I was excited when we discoveredthis file footage because there thetwo main motifs of the film – Gottand the universe – come together.n What would you like audi-

ences to take home from thefilm?

With each of my films, I amhappiest when people tell me itgave them an impulse to thinkabout how to fulfill their life in therelatively short span we are givenhere. I am not able or willing toinclude some kind of message inmy films. I am not an activist film-maker such as Michael Moorewho has a certain idea that he ful-fills with his films. I don’t haveany such idea. I am a chroniclerwho records life and hopes it willprovide food for thought. n

The grande dame of Czech documentary film, Helena Třeštíková.

Ph

oto

: M

ilan

Malíček

The hardest film of my lifeHelena Třeštíková makes ordinary life interesting

For ardent cineastes who are atKVIFF to pack in as many films aspossible, buying a festival pass isan absolute no-brainer. Gettingyour hands on one of these littlelanyards will make it 50% cheap-er to see movies compared to theprice of buying individual tickets.It also provides fringe benefits.

First, let’s start with the films:a pass entitles you to get threefree tickets for three differentscreenings each day until all tick-ets have sold out. Tickets for filmscan be picked up on the day before

the screening or on the day itself.We would recommend that youget your tickets as early as pos-sible on the day before a screeningas demand for films often exceedssupply.

You can purchase a KVIFF passat any festival box office (see themap on the back page) and youcan get tickets immediately at thesame place. You can buy a card forthe entire festival or for one, three,or five consecutive days. If geta shorter-duration pass and thensuddenly decide you just have to

stay longer, it’s not a problem toget your lanyard’s validity extend-ed at any box office.

A festival pass also entitles youto any free places that are stillavailable at cinemas five minutesbefore screenings at the discretionof theater staff. Other benefits in-clude being able to access anypress conferences that are not fullup, a free festival catalogue andprogram, and some nifty dis-counts on sandwiches at BageterieBoulevard the Thermal swimmingpool above the Thermal. (COC)

EXPLAINERSEE YOU THERE

The festival pass: why it’s the real deal

1 day 3 days 5 days Entire festivalFestival Pass 200 CZK 500 CZK 700 CZK 1000 CZK

Discount pass* 150 CZK 350 CZK 450 CZK 700 CZK* A discount pass may be bought by secondary school and university students, senior citizens, and people with physical

disabilities (appropriate documentation such as an ISIC card, disability card, etc. must be presented upon purchase)

FESTIVAL PASS PRICES

I’d recommend Our Children by Belgian di-rector Joachim Lafosse, which was featured inthis year's Un Certain Regard at Cannes. It’sa brilliant psychological study of a woman whotries to comply with the demands of the malemembers of her family. She marries an adoptedson of a rich man and gives birth to one childafter another. She finds herself in situationswhere she has to conform and accept the will ofthe benefactor of the family on whom they de-pend financially and existentially until she even-tually loses her sanity. There are some excellentperformances, particularly by the female leadÉmilie Dequenne. Tahar Rahim and Niels Arestrup, who both appeared in A Prophet byJacques Audiard, are also outstanding.

Our Children screens today at 9:30pm at theČas Cinema as well as on July 6 at 11:30am inthe Thermal’s Grand Hall. (COC) Photo: KVIFF

STRANA / PAGE 2 FRIDAY, JUNE 29, 2012

FESTIVAL DAILYTHE OFFICIAL ENGLISH DAILY OF THE 47TH KARLOVY VARY INTERNATIONAL FILM FESTIVAL

denicek@kviff.com

Dubravka LakićFilm Critic, Serbia

n So, what’s KVIFF’s maindraw for you?

As a film critic of the dailypaper Politika in Belgrade,I will write reviews of filmsfrom the main competition pro-gram.

n What, in particular,catches your eye?

I’m very curious to see theCzech entry, Polski film byMarek Najbrt as well as newfilms by well-known Polish andItalian directors − To Killa Beaver by Jan Jakub Kolskiand Piazza Fontana: The Ital-ian Conspiracy by Marco Tul-lio Giordana. I’m also lookingforward to the new film by Iran-ian director and actor AliMosaffa, who is coming back toKVIFF with The Last Step andthe wonderful actress LeilaHatami.

n What about films fromthe other sections?

My attention will also be fo-cused on the Forum of Inde-pendents and East of the Westbecause they have two goodSerbian films in competition:Death of a Man in Balkans byMiroslav Momčilović (FOI) andPractical Guide to Belgradewith Singing and Crying byBojan Vuletić (EOW).

n Besides being here asa film critic have you got any-thing else in mind?

I believe I’ll see a lot of inter-esting films that I will be able toselect for the Cinema City Inter-national Film Festival in Serbia,where I am a programmer.

(WT)

WHAT AM IDOING HERE?

Will Tizard

The 12 films competing for theOfficial Selection Crystal Globerepresent the best finds by festivalstaff in a year or more of researchmissions that have KVIFF pro-grammers jetting to Russia, Korea,Latin America, or wherever there'sa crop of emerging art film to beharvested.

They know the schedules andprograms of their counterpart fes-tivals in Moscow, Pusan, SaoPaulo, Toronto and Park City, Utah− and not only that, but which air-lines have the most comfortablelong-haul seats and decent food.

They also know how to find themost intriguing work, says KVIFFArtistic Director Karel Och, whoexplains that events such as privatescreenings organized by nationalfilm promotion bodies abroad areone useful source. (These turnedup the competition films fromAustria, Italy and Canada thisyear.)

"However, every now and thenwe discover an amazing filmamidst the couple of thousand sub-mitted DVDs, which is the case ofthe philosophical western HayRoad from Portugal," Och says."As soon as we all in the program-ming team watched the film weunanimously agreed that it isa perfect fit into this year’s com-petition, which features some rad-ical and offbeat choices."

Compelling and originalUnder KVIFF rules, which are

intended to focus on the discoveryof new talents, films in the OfficialSelection must not have screenedoutside their home country, mustnot have had a festival screeningbefore July of last year, and musthave been made after January 1,2011. And, because the KarlovyVary festival is in the same inter-national category (The A class es-tablished by the FIAPF, the Paris-based international festivalregulating body) as 13 other topfestivals including Cannes, Berlin,Venice, Locarno, Warsaw, Mon-treal and Shanghai, films that arecompeting here cannot do so atany of those rival festivals.

It's always a challenge to find

compelling and original work thatfits all these constraints, of course,but KVIFF staff have again man-aged to find the goods from Japan,Iran, Mexico, Canada, and all overEurope.

Some of the films that haveflown in from the farthest reachescome with the most dramatic talesof discovery.

Fresh from Tokyo comes the en-try Kamihate Store by Tatsuya Ya-mamoto, a consideration of howthe grief-struck struggle to hold onto hope in the face of an easy, almost socially approved, way outamid the wild cliffs.

And Iran, which made a historicOscar win this year, is back atKarlovy Vary with The Last Stepby director and actor Ali Mosaffa,whose film features another stun-ning performance by Leila Hata-mi, who was key to the AcademyAwards win for A Separation,which screened at KVIFF lastsummer.

Mexico's entry, the atmosphericstory of memory, grief and aggra-vating intrusions, Nos Vemos Pa-pa (See You, Dad), is the first fea-ture outing of writer/director LuciaCarreras. Her writing chops wereproven on the international stageas the co-screenwriter for LeapYear (2010), which won the Cam-era d’Or at Cannes for best firstfeature.

The director credits the KVIFFstaff for its close monitoring of hercountry's film scene and the festi-val's observation that her workstands apart from much of the cur-rent, conventional output there. "Ithink KVIFF is very aware ofwhat’s going on with Mexicanfilmmaking," says Carreras. Notjust this year, she adds, "SeveralMexican films have been screenedat Karlovy Vary in the differentsections."

For a first-time director like thisto have won over an actress such asCecilia Suárez, who plays the maincharacter, the troubled Pilar, isquite a feat. Suárez is one of thebest-known actors in Mexico andLatin America, a veteran of morethan 20 films and has made Holly-wood features with Tommy LeeJones, Anne Bancroft, Harvey Kei-tel, Paul Reiser and Adam Sandler.She's known to millions of art film

audiences for The Three Burials ofMelquiades Estrada and Spang-lish, plus Emmy-winning work forthe HBO series Capadocia.

As to why a filmmaker witha choice of so many other A-classfestivals would choose KVIFF fortheir international premiere, saysCarreras, "[the] Karlovy Vary In-ternational Film Festival is a maincinematographic event. We thinkof it as an amazing platform andwindow to premiere Nos vemospapa."

Continental filmsIt’s natural that a festival whose

home is in the heart of Europewould be strongest on continentalfilms and these indeed dominatethe Official Selection calendar. Buteven the films from familiar geo-graphic regions should venture in-to new territory if they hope to wina slot here.

"This year is quite unusual interms of countries represented inthe main competition," says Och."Greece and Portugal are new-comers, while Austria is back af-ter 10 years. Young filmmakers arecoming from those countries toshare their visions, which havestrong artistic elements and arevery political at the same time."

As for the fascinating HayRoad, by Rodrigo Areias, it delvesfearlessly into a little-traffickedgenre at art film festivals − anddares to dance with genre conven-tions.

Nominally a Western, the film isalso a meditation on revenge, tran-scendence, and the cost of civi-lization as contemplated by HenryDavid Thoreau, who embodiesa kind of spiritual guide for theleading character, a shepherdturned gunslinger.

Set in the early 1900s, the storyfollows its protagonist, Antonio,from a snowy wilderness down in-to a hot, dusty hill country wherehe sets out to avenge his brother'sdeath and get back a fortune stolenby the killers. In the process, henaturally takes on the authorities −just like a good film festival does.

The Festival Daily will be tak-ing a closer, individual look at allthe films in the Official Selectionover the coming days.

Official Selection – some radical, offbeat choices

Mexican writer/director Lucia Carreras’s feature debut Nos Vemos Papas.

Photo: KVIFF

Tatsuya Yamamoto’s Kamihate Store offers and intenseconsideration of grief and loneliness.

Photo: KVIFF

Czech, please!Even KVIFF veterans often find themselves

struggling to negotiate the grammatical complexi-ties of the local lingo.

With seven cases as well as different endings andvariants for the same words, Czech is a hard lan-guage to get your head around. And that’s beforeyou even think about trying to pronounce the letter“ř”! That’s why we’ve prepared this quick cut-outguide, which we hope will help you manage at leastsome basic transactions while you’re at the fest.

Basic phrasesMluvíte Mloo-vee-tay Do you speak

anglicky? ang-litskee? English?

ano anno Yes

ne neh No

Dobrý dohbree Helloden den (lit. Good day)

Ahoj/čau ahoy/chow Hi/bye! (informal)

Dobrý večer dohbree vetchair Good evening

Dobrou noc! dohbrou nots Good night

Děkuji/ jay-kwee/ Thank you!/Dík deek Thanks! (inf.)

Promiňte promintay Excuse me

Prosím proseem Please

Jak se máte yak se mahte How are you?

Mám se dobře Mam se dobzhe I’m fine

Na shledanou naskledanoh Goodbye

Kde je…? guday yeh Where is…?

On the townKolik to stojí? kohleek to stoyee What’s the price?

Jedno pivo, yedno pivo One beer, prosím proseem please!

Ješte jedno yeshte One more,pivo, prosím yedno please!

Máte… mah-tay Do you have…

jídelní lístek jeedelnee leestek a menu

v angličtině v anglitch-tin-yeh in English?

Cinema phrasesLístek, prosím leestek proseem One ticket please

V kolik hodin… fekoleek hodeen What time…

začíná ? zatcheenah does the promítání promeetanee? screening start?

Vyprodáno Vee-prohdanoh Sold out

Over the course of the festival, our “Czech, please”column will be revisiting this often crazy languageand introducing you to some of the phrases and id-ioms that you can hear regularly, if you keep yourears open.

STRANA / PAGE 3FRIDAY, JUNE 29, 2012

FESTIVAL DAILYTHE OFFICIAL ENGLISH DAILY OF THE 47TH KARLOVY VARY INTERNATIONAL FILM FESTIVAL

denicek@kviff.com

Beyond the HillDirector: Emin AlperTurkey, Greece, 2012, 94 min.June 29, 4pm, Congress Hall

Not to be confused with Cristian Mungiu’s Romanian drama witha similar title, this impressive feature debut by Turkish Emin Alperinscribes itself in the slow-moving, observant tradition of Turkish cin-ema that’s currently en vogue. Set on the rural estate of an elderly

farmer who has invited his grown-up son and the latter’s teenage boys, the film expertly uses the titularoffscreen space to explore scapegoat mechanisms in Turkish society. The use of occasional point-of-viewshots that are unwittingly (for the viewer) inserted in the flow of the story add a further layer of visualsophistication.

TabuDirector: Miguel GomesPortugal, Germany, Brazil, France, 2012, 110 min.June 29, 10pm, Karlovy Vary Theater

This will be, mark my words, one of the most talked about films of theyear. Not because it’s in black-and-white, like The Artist, or becauseit features enormous amounts of envelope-pushing nudity or violence(it contains very little of either), but because it is the kind of film that

weaves its own web and traps some (not all) viewers in it completely. It’s the kind of dream-like featurethat’s hard to rationalize but not less of an accomplishment because of it. Divided into two parts, likethe F.W. Murnau film of the same name though in inverted order, it’s an exploration of saudade, lone-liness, and colonialism.

The King of PigsDirector: Sang-ho YeunSouth Korea, 2011, 97 min.June 29, 7pm, Congress Hall

Like an animated version of Yoon Sung-Hyun’s Bleak Night, Sang-hoYeun’s King of Pigs is a tale about school bullying and suicide. Madeon a tight budget (reportedly just $150,000) and with deliberatelycrude animation, this tale unspools on two timelines, one in which the

main characters are in their thirties and connect again, and the other when they were all in high schooland were “pigs,” kids at the bottom of the food chain that got bullied by the class “dogs” until someone,the titular hero, stood up for them. The extreme violence isn’t softened by the fact it’s animated, main-ly because the real terror is psychological. n

Boyd van HoeijFilm critic, Variety

REVIEWERS RECOMMEND

Well, it’s the first day of anotherdiverse and distinctive KVIFF,and there are lots of renownedand respected faces to look outfor already. Keep those eyespeeled for an honoured guest,Sundance Grand Jury prize-winnerIra Sachs, who’s been steadilyturning out high quality offeringssince his acclaimed debut shortLady in 1993. He’ll be sharingthe spa-studded streets with theprolific award-winning compos-er David Holmes, director andcritic Mark Cousins, and the in-ternationally lauded Turkishwriter and director Reha Erdem.

Here for the East of the Westcompetition is Iveta Grófová,whose debut feature Made in Ashpaints a disturbing picture of theprospects available to young Slo-vak women. Another competitorarriving today is artist, photogra-pher and documentarist LaurenGreenfield, who’s here to showher portrait of a millionaire fam-ily’s dream of building a modernday all-American palace in TheQueen of Versailles. Another hotyoung documentarist, though notcompeting at KVIFF this year, is

Malik Bendjelloul, whose debutSearching for Sugar Man wasa hit at Sundance.

Many more highly respectedjurists are rolling into town;Hungarian director Ágnes Kocsis,East of the West jury member,and Iranian director, critic anddocumentarist Massoud Bakhshi,serving on the Independent Cam-era jury both arrive today. Andfrom the Grand Jury, we wel-come Croatian director RajkoGrlić, Ivo Mathé, the first everdirector of Czech Television and

close colleague of the late VáclavHavel, and this year’s PresidentRichard Peña, long standing di-rector of the New York Film Fes-tival.

And from farther afield, Tatsuya Yamamoto is here tocompete in the Official Selectionwith Kamihate Store, an subtlemeditation on personal discon-nection. Forum of Independentswriter/director Mohcine Besri,is here with his ambitious Mo-roccan debut The Miscreants,and Canadian director MartinLaroche with Fair Sex. FromAnother View we have anotherCanadian, Martin Villeneuve,here to show his feature debutMars & Avril, along with multi-ple award-winning Filipina ac-tress Eugene Domingo, repre-senting The Woman in the SepticTank, a wry metafilmic look atthe mechanisms of celebrity andthe exploitation of Third Worldsuffering. Also representing hisoffering in Another View is Pol-ish director Marek Koterski,asking hard questions about gen-der in Chicks Are Just Different.

(PLC)

FACES

Lauren Greenfield Malik Bendjelloul

Martin Villeneuve

Mark Cousins

Karel IV.Zámecký vrch 2☎ 775 757 068www.restaurantkarla4.czOpen 10am-11pm (Sun. 10 pm)

Located on a quiet uphill streetabove Vřídelní kolonáda, KarelIV seems rather uninspiring atfirst glance. But step over thethreshold and you’ll find a slick,pleasing dining room upstairs,adorned with black-and-whiteportraits of movie stars, empha-sizing KV’s cinema heritage.The menu touches all the baseswith a decent selection of salads(mostly around the 200 CZKmark) as well as various fish andmeat dishes, including some nicelamb and venison offerings(around 400-450 CZK). There isalso a selection of reasonably edi-ble-looking vegetarian specialties,which is still something of a rar-

ity in this part of the country. Thedishes we had were served withsome nice homemade bread andthe staff were friendly and atten-tive. We particularly enjoyedwashing everything down withsome light and dark draftChodov beer (69 CZK). One ma-jor plus here is the extensive ter-race, which offers one of the best al fresco views of the towncenter.

Café ElefantStará Louka 30☎ 353 229 270Open 9am-10pm

Wonderful beer halls are notthe only Czech catering specialty.Many of the natives also tend tobe fond of frequenting their localcukrárna, which is effectivelya high-end coffee shop that spe-cializes in proffering a tempting

range of cakes and other confec-tionery. Karlovy Vary’s Café Ele-fant is a particularly fine exampleof this type of establishment.Decorated in an opulent Viennesestyle, this elegant outlet has a nice

range of coffees (mostly costing69 CZK a cup), which is comple-mented by a delicious range ofexceedingly good sweets anddeserts for around 90-150 CZK.We particularly enjoyed demol-

ishing a sinfully rich cherrycheesecake (99 CZK) as we in-dulged in a bit of people-watch-ing from Elefant’s lovely terraceon the pedestrian boulevard lead-ing to the Pupp. (COC)

STRANA / PAGE 4 FRIDAY, JUNE 29, 2012

FESTIVAL DAILYTHE OFFICIAL ENGLISH DAILY OF THE 47TH KARLOVY VARY INTERNATIONAL FILM FESTIVAL

denicek@kviff.com

Kino Drahomíra

Espace Dorleans

Thermal

Kino Čas

Lázně III

Romania

Concordia

Venus

Sirius

PavlovDětské centrum

Jameson Festival LoungeBarracuda / Foo Paa

Růže

Kolonáda

Salvator

Jean de Carro

Aeroport

Olympia

Karlovarské městské divadlo

Divadlo Husovka Festivalová Bokovka

Dvořák

Villa Basileia

Embassy

Krásná královnaCorso

Richmond

Poštovní dvůr

Letní kino

Maltézský kříž

St. Petersburg

Pupp

Galerie umění

Pupp

Schlosspark

Chebský dvůr

OntarioPalatin

Promenáda

Aqua MarinaRoyal Regent

ModenaExcelsior

Smetana

Festival

Čajkovskij

Lafonte

Stanové městečko – Rolava

Jizera

Derby

Kavalerie

Adria

Kosmas

Kinosál / CinemaHotelFestival shopKlub / ClubGalerie / GalleryDětské centrum / Daycare CenterPůjčovna kol / Bike Rental

Becherova vila

Pokladna: 29. 6. – 6. 7. 7. 7.

Hlavní pokladna – 6x6, hotel Thermal

8:00 – 24:00 8:00 – 24:00

Venkovní pokladny – 6xschody u hotelu Thermal

8:00 – 22:00 –

Last Minute pokladnaInformace, hotel Thermal

8:00 – 24:00 8:00 – 24:00

Pokladna F-Bar – 8xhotel Thermal

8:00 – 24:00 8:00 – 13:00

Pokladna PUPP – 2xGrandhotel Pupp

9:00 – 22:00 –

Pokladna Vodafonehotel Thermal

8:00 – 20:00 8:00 – 20:00

POKLADNY – OTEVÍRACÍ DOBA

Box office: June 29 – July 6 July 76 main box offices Hotel Thermal

8am – midnight 8am – midnight

6 box offices at the steps outside the Thermal

8am – 10pm –

Last Minute box officeInfo Desk at the Thermal

8am – midnight 8am – midnight

8 F-Bar box officesHotel Thermal

8am – midnight 8am – 1pm

2 Pupp ticket officesGrandhotel Pupp

9am – 10pm –

Vodafone box officeHotel Thermal

8am – 8pm 8am – 8pm

BOX OFFICES – OPENING HOURS

A nice little run of concertskick off this year, starting withCzech funk from Madfinger,5pm outside the Thermal, fol-lowed by Czech/Finnish indieproject Kieslowski at 8:30pm,or if you’d rather some localrock, try Tajfun at the Open-airTheatre at 8pm. Also starting at8pm is the popular all night DJlineup at the Jameson Tent.And at 9pm, choose betweenmusic from Těžko souditmotýla at Drahomíra and thegrand opening party of thisyear’s Aeroport, their last yearin the decaying grandeur ofa former bank building. Look to-wards the Thermal fireworksdisplay at 10:45pm beforeheading to the Outdoor Cinemaat 11pm for a free screening ofthe Belfast punk extravaganzaGood Vibrations to mark theopening of KVIFF 47. (PLC)

ON THE TOWN

Al fresco dining on a pleasant terrace is one of Karel IV’s major selling points.Photo: KVIFF