Two Syllables Behind

The designation of new physical borders in contemporary Europe does not seem to apply to the world of art. Nowadays, Slovak and Czech film makers (and not only they) continue to work together and influence one another as they did in the past. With Two Syllables Behind, the début by scriptwriter Katarína Sulajova, it looks as if for the first time, a film has been made in Slovakia that tries to free itself from the film past of the country in order to reflect on urban life and its youth. At the same time, however, it manages not to lose those small poetical elements so typical of Slovak cinema. Zuzana (Zuzana Sulajova, best known from Martin Sulík’s The Garden) is a prototype of the post-communist generation that has long forgotten (if they ever knew) the past of its parents. She is young and dynamic, and wants to get everything possible out of life. Dubbing cheap soap series earns her money, and money gives her the possibility to enjoy life and travel. It seems like materially, she will be able to make it. Her only trouble is a feeling of unrest, a search for something more, or something new. The new world of Zuzana contrasts starkly with the old world of her grandmother, an inhabitant of the old Bratislava, a witness of the times when people used to speak three languages there. Stylistically, this new generation in Slovak cinema reminds us of films by Czech directors like David Ondricek (who also uses the cult music of Jan P. Muchow), or Benjamin Tucek. That it speaks for its generation is proven by its success with the Slovak audience. (LC)