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Lunacy is a tchèque film of genre Drama directed by Jan Švankmajer with Jan Tříska

Lunacy (2005)


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Length 1h58
Directed by
Genres Drama,    Comedy,    Horror
Rating72% 3.6477253.6477253.6477253.6477253.647725

Lunacy (Czech: Šílení) is a 2005 Czech film by Jan Švankmajer. The film is loosely based on two short stories, "The System of Doctor Tarr and Professor Fether" and "The Premature Burial", by Edgar Allan Poe. It is also partly inspired by the works of the Marquis de Sade. The film was shot between October 2004 and April 2005, on location in the village of Peruc close to Prague, and in Švankmajer's studio in the village of Knovíz.


Jean Berlot (Liska) is a deeply troubled man who has been haunted by violent hallucinations since the death of his mother, who was committed to a mental institution when she passed on. While arranging his mother's funeral, Jean meets a fellow inmate who claims to be the Marquis de Sade (Triska), and lives as if he's in 18th-century France rather than the Czech Republic in 2005. Jean strikes up an alliance with De Sade, though they can hardly be called friends, and after becoming an unwilling accomplice to De Sade's debauchery, Jean joins him at a hospital run by Dr. Murlloppe (Dusek), who offers "Purgative Therapy" for people who aren't mad but could be in the future. Jean falls for a beautiful nurse named Charlota (Geislerova), who claims she's being held at the hospital against her will; in time, Jean hatches a plan to liberate her and the inmates, though he learns the truth is even more disturbing than he's been led to believe.


Jan Tříska

Anna Geislerová

Trailer of Lunacy

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Source : Wikidata


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Suggestions of similar film to Lunacy

There are 26 films with the same actors, 18 films with the same director, 81477 with the same cinematographic genres (including 198 with exactly the same 3 genres than Lunacy), to have finally 70 suggestions of similar films.

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Karel Horák (Jan Hartl) and Božena Horáková (Veronika Žilková) are a childless couple and for medical reasons are doomed to remain so. While on vacation with their neighbors at a house in the country, Karel decides to buy the house at the suggestion of his neighbor. When he is fixing up the house, he digs up a tree stump that looks vaguely like a baby. He spends the rest of the evening cleaning it up and then presents it to his wife. She names the stump Otík and starts to treat it like a real baby. She then works out a plan to fake her pregnancy and becoming more and more impatient she speeds up the process and 'gives birth' one month early.
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Directed by Jan Švankmajer
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In Prague, Mr. Pivonka, an unmarried man, buys some pornography from his local newsagent, Mr. Kula, and returns home. A postwoman, Mrs. Malková gives him a letter which reads "On Sunday" in cut-out letters. In secret, she then rolls pieces of bread into little balls and carries them in her satchel. Pivonka asks his neighbour, Mrs. Loubalová, to slaughter a chicken for him. Using the leftover feathers and papier-mâché made from the pornography, he constructs a chicken head and fabricates wings made from umbrellas. Meanwhile, police captain Beltinsky buys rolling pins and pan lids from the same shop that sells Pivonka's umbrellas. Using these items, plus stolen pieces of fur and sharp things, Beltinsky constructs unusual objects in his workshop. His wife, a newsreader named Beltinska, feels neglected and buys some live carp. She is unaware that Kula is in love with her image and has constructed a machine rigged to stroke and masturbate him when she is on television. Pivonka and Loubalová construct life-size effigies of each other.
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Film de semi animation complètement déjanté que nous propose Jan Švankmajer. On nous y présente un homme qui fait d’étranges rêves et qui consultera une psychanalyste pour tenter de les interpréter. Ces rêves lui permettent de côtoyer un homme qui lui ressemble, mais en plus jeune, et une jeune femme qu’il aimerait bien rencontrer dans le monde réel. D’ailleurs, à un certain point, le rêve et la réalité ne se confondent-ils pas? Il y a aussi cette maladie d’acheter des billets de loterie en pensant qu’il va gagner une fortune..
Alice (1988)
, 1h24
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Alice appears to be in her own bedroom, when a taxidermically stuffed rabbit comes to life and breaks out of its glass case. Alice follows the rabbit through the drawer of a desk into a cavern. She subsequently falls through a bucket and seemingly down an elevator shaft. Wonderland itself is a mix of drab household-like areas with incongruous relationships of space and size. The Queen's execution sentences are carried out by the White Rabbit with a pair of scissors. At the film's end, Alice wakes in her room, discovers that the rabbit is still missing from his glass case, and finds a secret compartment where he keeps scissors. She ponders whether or not she will cut his head off. The film is ambiguous about whether this room is Alice's real world or "Wonderland".
Dimensions of Dialogue, 12minutes
Directed by Jan Švankmajer
Origin Tchecoslovaquie
Genres Comedy, Fantasy, Animation
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The animation is divided into three sections. "Eternal conversation" (Dialog věcný) shows Arcimboldo-like heads gradually reducing each other to bland copies; "Passionate discourse" (Dialog vášnivý) shows a clay man and woman who dissolve into one another sexually, then quarrel and reduce themselves to a frenzied, boiling pulp; and "Exhaustive discussion" (Dialogu vyčerpávajícím) consists of two elderly clay heads who extrude various objects on their tongues (toothbrush and toothpaste; shoe and shoelaces, etc.) and intertwine them in various combinations.
Meat Love
Meat Love (1989)

Directed by Jan Švankmajer
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A knife chops two slices off a chunk of fresh meat. The first slice, using a nearby spoon as a hand mirror, admires itself. Similar admiration is expressed by the second slice, which slaps the first slice on its 'rear', causing it to cry out and retreat coyly behind a tea-towel. The second slice switches on the radio, and persuades its companion to dance 'cheek to cheek' to the sound of an old 1920s recording. One slice jumps into a plate of flour and teasingly 'splashes' the other. Soon, the two slices are writhing ecstatically in the flour. Their passion is short-lived, however, as almost immediately afterwards they are skewered and fried.
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Le film se base sur le visionnage d'un match de foot par un homme dans une pièce abondamment décorée de posters et différents objets liés à l'univers du football. Le film consiste en une succession d'images archives montrant les réactions de supporters durant un match et d'images animées surréalistes. L'acteur qui joue le spectateur derrière son poste de télévision joue aussi l'arbitre, les joueurs, les médecins et les croque-morts dans les passages surréalistes. Le film suit une certaine mécanique propre au cinéma de Švankmajer : une série de photos de joueurs colorés montées de manière énergique avec en fond des commentaires de présentateurs brouillés, puis une chorégraphie jouée par les joueurs avec le ballon, puis la destruction d'un ou plusieurs joueurs. Švankmajer s'amuse à détruire des portraits de glaise à l'image du spectateur de toutes les manières imaginables (visage arraché par une ventouse, démolition à coups de marteau, tête passée au hachoir, etc.). Le score du match progresse à mesure que les joueurs sont détruits. Les joueurs ainsi anéantis sont mis sur des brancards puis dans des cercueils aux couleurs de leur équipe, qui intègreront également les séquences surréalistes. On voit les réactions du public passionné en archive et le spectateur souvent montré en train de manger ou boire.
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, 1h37
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The story commences on the streets of Prague on a grey morning with commuters bustling about. We are introduced to the figure of an Everyman, played by Petr Čepek, a colourless figure emerging from a metro station. On his way home, the man encounters two men handing out flyers. It is a map of the city with a location marked in. He shrugs and discards it, returning to his lodging. As he opens the door, a black cockerel runs out. The man sits down to eat, cutting himself a slice of bread. He discovers an egg concealed inside the loaf. He cracks it open but it is empty. Suddenly the lights go out and the wind rises. Objects are thrown about the room. The commotion ceases; the man goes to the window and looks down to where the two men from earlier are staring up at him. One of them holds the cockerel. The man closes the blind and returns to the table, where he finds the map and, using his own map of the city, traces out the location marked.
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, 17minutes
Directed by Jan Švankmajer
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Genres Comedy, Animation
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