Bohemia
Spending the weekend in a faceless Los Angeles hotel, with a view of a concrete freeway bridge, writing a cat litter commercial, Jack feels he has reached an all-time low. He orders a call girl, whose specialty lies in storytelling.
The call girl, Gabriella, tells a story about a young man named Jake, who takes an extended holiday in Prague, a haven for young expatriates, in search of culture and rejuvenation, where he meets Gabi, filmmaker and dancer. Passionate, mysterious, and enchanting, she instantly falls in love with Jake, her “American dream-man”. They have a whirlwind romance, as they explore the rich, mysterious “Kafka-esque” city.
Through the story, Gabi intuitively begins to help Jake uncover his lost self, by unwrapping the numerous layers of fear, denial and disappointment in which Jake hides.
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REVIEWS
First I just have to say WOW!!! I so loved “1001 Nights in Bohemia”!
You set the bar very high for every film I saw after 1001 Nights. I’m just grateful I saw your film first because it reminded me that there are still great artists living amongst us.
There was so much to love about this film. Starting with the shadow dancing and ending on it made the whole film feel like the stage play of our lives. And all the details, the mythological and literary references, made it a feast for the eyes and the ears.
It’s so rare that a film is unpredictable and has so many tonal dynamic shifts: from color to black & white, from dreamy slow to super fast, from real to surreal,from the Prague story of broken hearts to the Los Angeles story of jaded hearts, from well chosen close ups (Medusa painting, Scheherazade’s sensual face) to wide shots where even the freakin’ freeway looks like a poetic snake making its way through Babylon. I loved the whole Charlie Chaplin section and the reversal of clothes and Gabi’s last dance on the stage and the cut from when she lands on the floor to Scheherazade in bed with Jack. What an accomplishment that none of the sex in your film was gratuitous. It was all revealing something about each character. My favorite line that made me laugh was “Stupid Americans always want some irony.”
The thing that got to me about this story is him dying at the end and by his own hand. In American films it’s the woman that dies. I thought you did an amazing job of showing the innocence and complexity of Boy meets Girl and the brutality and subtlety of the Wounded Feminine faces the Wounded Masculine. But through it all, I felt like I was in the hands of a seasoned artist, a fearless artist, a generous artist who understands and loves life in all its many flavors and shades.
Your film had the grandeur and mythic power of a Verdi opera, the intimacy of a Cassavetes film and the artfulness of Tarkovsky. And of course I was partial to the music. I’ve admired Iva Bittova from the time the iron curtain went down.
When the film finished I was sad that this was the first film of yours that I had the good fortune to watch so I searched the internet and was able to rent Tiger Within and oh my God, I went on another journey! Made me wish my mother was alive so we could have watched it together. I cried through most of it. What a love story! And Ed Asner took my breath away. As did Margot. There wasn’t one false note in that film. I loved how the film began and ended with the drawings.
The theme of forgiveness happens to be a huge passion of mine.
I’ll conclude by saying thank you so much for making these two beautiful films. They are both transcendent in very different ways. Thank you for inspiring me and being an example of the triumph of art over commerce.
Dagmar Stansova, Podcaster
REVIEWS
First I just have to say WOW!!! I so loved “1001 Nights in Bohemia”!
You set the bar very high for every film I saw after 1001 Nights. I’m just grateful I saw your film first because it reminded me that there are still great artists living amongst us.
There was so much to love about this film. Starting with the shadow dancing and ending on it made the whole film feel like the stage play of our lives. And all the details, the mythological and literary references, made it a feast for the eyes and the ears.
It’s so rare that a film is unpredictable and has so many tonal dynamic shifts: from color to black & white, from dreamy slow to super fast, from real to surreal,from the Prague story of broken hearts to the Los Angeles story of jaded hearts, from well chosen close ups (Medusa painting, Scheherazade’s sensual face) to wide shots where even the freakin’ freeway looks like a poetic snake making its way through Babylon. I loved the whole Charlie Chaplin section and the reversal of clothes and Gabi’s last dance on the stage and the cut from when she lands on the floor to Scheherazade in bed with Jack. What an accomplishment that none of the sex in your film was gratuitous. It was all revealing something about each character. My favorite line that made me laugh was “Stupid Americans always want some irony.”
The thing that got to me about this story is him dying at the end and by his own hand. In American films it’s the woman that dies. I thought you did an amazing job of showing the innocence and complexity of Boy meets Girl and the brutality and subtlety of the Wounded Feminine faces the Wounded Masculine. But through it all, I felt like I was in the hands of a seasoned artist, a fearless artist, a generous artist who understands and loves life in all its many flavors and shades.
Your film had the grandeur and mythic power of a Verdi opera, the intimacy of a Cassavetes film and the artfulness of Tarkovsky. And of course I was partial to the music. I’ve admired Iva Bittova from the time the iron curtain went down.
When the film finished I was sad that this was the first film of yours that I had the good fortune to watch so I searched the internet and was able to rent Tiger Within and oh my God, I went on another journey! Made me wish my mother was alive so we could have watched it together. I cried through most of it. What a love story! And Ed Asner took my breath away. As did Margot. There wasn’t one false note in that film. I loved how the film began and ended with the drawings.
The theme of forgiveness happens to be a huge passion of mine.
I’ll conclude by saying thank you so much for making these two beautiful films. They are both transcendent in very different ways. Thank you for inspiring me and being an example of the triumph of art over commerce.
Dagmar Stansova, Podcaster
First I just have to say WOW!!! I so loved “1001 Nights in Bohemia”!
You set the bar very high for every film I saw after 1001 Nights. I’m just grateful I saw your film first because it reminded me that there are still great artists living amongst us.
There was so much to love about this film. Starting with the shadow dancing and ending on it made the whole film feel like the stage play of our lives. And all the details, the mythological and literary references, made it a feast for the eyes and the ears.
It’s so rare that a film is unpredictable and has so many tonal dynamic shifts: from color to black & white, from dreamy slow to super fast, from real to surreal,from the Prague story of broken hearts to the Los Angeles story of jaded hearts, from well chosen close ups (Medusa painting, Scheherazade’s sensual face) to wide shots where even the freakin’ freeway looks like a poetic snake making its way through Babylon. I loved the whole Charlie Chaplin section and the reversal of clothes and Gabi’s last dance on the stage and the cut from when she lands on the floor to Scheherazade in bed with Jack. What an accomplishment that none of the sex in your film was gratuitous. It was all revealing something about each character. My favorite line that made me laugh was “Stupid Americans always want some irony.”
The thing that got to me about this story is him dying at the end and by his own hand. In American films it’s the woman that dies. I thought you did an amazing job of showing the innocence and complexity of Boy meets Girl and the brutality and subtlety of the Wounded Feminine faces the Wounded Masculine. But through it all, I felt like I was in the hands of a seasoned artist, a fearless artist, a generous artist who understands and loves life in all its many flavors and shades.
Your film had the grandeur and mythic power of a Verdi opera, the intimacy of a Cassavetes film and the artfulness of Tarkovsky. And of course I was partial to the music. I’ve admired Iva Bittova from the time the iron curtain went down.
When the film finished I was sad that this was the first film of yours that I had the good fortune to watch so I searched the internet and was able to rent Tiger Within and oh my God, I went on another journey! Made me wish my mother was alive so we could have watched it together. I cried through most of it. What a love story! And Ed Asner took my breath away. As did Margot. There wasn’t one false note in that film. I loved how the film began and ended with the drawings.
The theme of forgiveness happens to be a huge passion of mine.
I’ll conclude by saying thank you so much for making these two beautiful films. They are both transcendent in very different ways. Thank you for inspiring me and being an example of the triumph of art over commerce.
Dagmar Stansova, Podcaster