Zdeněk Tyc




The end of summer in 'LIKE NEVER BEFORE' also means the end of a life. Vladimír Holas, a painter, sculptor and teacher in a small town, is dying. He's made many beautiful paintings – but not as great as he'd wished them to be. He didn't join the Communist party or the Fine Artists Union, he didn't sell out to the Communist regime. His country home in the middle of a beautiful landscape is his last resort, the death is unavoidable and he doesn't want to die in a hospital. He wants to fall standing, just like he lived.

The film has three key characters, the main hero and two women: Karla, around thirty five, is somewhat similar to her partner in life: a painter, bohemian, doesn't flinch at using bad language. Jaruna, on the other hand, is very different from the other two, a married nurse of approximately fifty five and the maestro's former lover. The three of them lead useless battles against death, against themselves and among themselves – which brings a form of relief to each of them.

At the beginning of the film, we see Holas still trying to paint and create art, and get mad at his lack of strength. He doesn't yet know his energy will disappear like water in hot sand, that everything will go so fast. The circumstances force him into bed - his death bed. All he can do is have it dragged out of the house a few times to watch stars or lie by the open fire…

The two women eventually grow closer to each other. They are different, but that doesn't stop them from concentrating on what's really important.

Markéta Bidlasová, the author of the screenplay, presents this cruel world without artificial sweetener, through powerful situations and three-dimensional supporting characters who do not understand Karla and Jaruna's truculent care of Vladimír, or their 'coexistence' and revolt against it. Tomáš, the main hero's son, also makes appearance and finds it hard to come to grips with realising that he is so similar to his father in many ways, that he cares about him despite years of denial. In the film, dying is no easy matter, caring for a dying person is an ordeal. Just like in life.

You can find out who you are when you are close to death. Then again you may not. Each of us can become a primitive, running after the illusion of a win, or a person happy with their life. Ordinary? Boring? Banal life? Possibly, but only until we find out it's about to end and there's no way to get it back.

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Film about people who do not talk about love – they live it.

IFF KARLOVY VARY 2002-International film competation



TRILOBIT (Film Asociation Award)-BEST DIRECTOR
CZECH LION-7 nominations for czech film award
CZECH LION-award for best male actor-Ivan Trojan
EUROPE FILM DAYS-audience award
CINEMA MAGAZINE - award for best male autor-Ivan Trojan, vote by readers
FINÁLE PLZEŇ -the Kodak Vision speciál prize conferred for outstanding achievement
FINÁLE PLZEŇ-audience award

Marek and Monika Šír move from Prague to the country. Their plan is to find not only better air for a son who suffers miserably from asthma, but also a more advantageous environment for two older Romany boys they’ve adopted. Their dream of free and natural living soon goes awry when an elderly neighbour accuses their son František of breaking the front windshield of his car.

The villagers are not very obliging to the strangers; coexisting with such open hostility, which seems to be heading towards litigation, pushes the Šír´s to react inappropriately. The boys themselves manage to make Marek and Monika see red from time to time despite the parents’ determination to create a just and loving family environment.

But the normalcy of the everyday is born out of the fragile miracle of love and the fear of irremediable errors.

The film’s temperate narration offers an open look at questions of everyday tolerance, love and family.

Seven years after the first run of his picture UŽ, director Zdenek Tyc had made a new movie called “Brats”. Its very first presentation will happen in the competition at Karlovy Vary Festival. The director started working on this project at the end of 1999; in the spring of 2000, it received a grant of 4.5 mil Czk. The production was taken up by Vratislav Srajer and the Bionaut production company. After long complicated negotiations Czech Television became the co-producer [namely Alice Nemanska, Helena Slavikova and their creative team], together with UPP company [Universal Productions Partners].

“Brats” originated in a literary script by Tereza Bouckova. It was her first work for film – the script got the support of SUNDANCE INSTITUTE [at a SUNDANCE screenwriters lab in Prague 2000] and of the Czech Literary Fund.

The film “Brats” was supposed to be temperate and real. In the director’s words “its simplicity and some lack of motivation had to be unique, robust and at the same time fragile and ungraspable”.

The lead parts of parents presents Ivan Trojan and Petra Spalkova. The film, of course, couldn’t have been created without children-actors. Finding the right ones is one long story. The man behind the camera was Patrik Hoznauer.

Director Zdenek Tyc says he refuses to categorize his film in any way, because he wants “surprise the audience no matter what the recent movie-going trends are. As any film there, Brats had gone through complicated development. Each and every potential partner stressed a different center of the story. In order to make the movie, I had to stand up and defend the original intention, which wasn’t always easy. It took a few adrenaline-high meetings to stay on the path and bring the idea to an end.” 


story and written by:               Tereza Boučková
directed by:                              Zdeněk Tyc
producer:                                 Vratislav Šlajer
co-written by:                          Jiří Soukup, Zdeněk Tyc
director of photography:          Patrik Hoznauer
art design:                                Štefan Theisz
costume design:                       Vladimíra Fomínová
sound:                                      Ondřej Ježek
Michael Míček
edited by:                                 Jaromír Vašek
music:                                      Jablkoň
head of production:                 Barbora Fabiánová

distributor in Czech rep.         Ivana Vrbíková, Spinfilm
sales                                       Bionaut


Marek Šír, father                      Ivan Trojan
Monika Šírová, mother             Petra Špalková
Lukáš, oldest son                    Jan Cina          
František, middle son               Lukáš Rejsek
Matěj, youngest son                Tomáš Klouda
Barták                                      Zdeněk Dušek
Bartáková                                Jaroslava Pokorná
Pepa                                        Olda Kohout
school director                        Magdalena Sidonová


Produced by  BIONAUT (producer Vratislav Šlajer)

co-produced by
- Czech television – creative team of  Alice Nemanská a Helena Slavíková
dramaturgy Bedřich Ludvík
-  UPP comp. – Vít Komrzý, Petr Komrzý

with support of State fund of Czech republic for support and development of Czech cinematography

Creation of screenplay was supported by  SUNDANCE INSTITUTE (during SUNDANCE SCREENWRITERS LAB in Prague in  2000) and Czech Literary Fund.

Tereza Boučková, screenplay

Born 24 May 1957 in Prague
After high school graduation she signed the document Charta 77 and worked as a cleaning lady, in packing houses, as a postie or concierge.
In 1988 she wrote a short novel Indiansky Beh [Revolver Revue, Host, later Fragment, Grafoprint, Rowohlt-Berlin, Wereldbibliotheek, Europa] for which she was awarded J.Orten’s Prize in 1990.
Her other published novels are Krepelice [published in 1993, Fragment], Kdyz milujete muze [1995, Stredoevropske nakladatelstvi], and Krakoram [1998, Hynek].
Indiansky beh, Krakoram, Kdyz milujete muze and Krepelice were published together in 1999 [Knizni klub publishing house, re-edition 2002]. Individual novels are represented in Czech literature anthologies in USA, UK, Denmark, Poland, Serbia and in magazines in many other countries.
In 2001 Tereza Bouckova finished a theatre adaptation of Fellini’s Road called Gelsomina – to be seen in V Reznicke Theatre.
The work on the script for “Brats” went on for three years between 1998-2001. It is her first time working for film.
Tereza Bouckova is also a regular columnist for the daily newspaper Lidove noviny. One of her columns won a prize in the competition European Feuilleton.
Together with her husband Jiri she adopted two sons and another one was born tot hem. She lives in a village near Beroun.




PRAHA, Filmové studio Barrandov /Barrandov Film Studios – Profil (vedoucí Karel Czaban) + FAMU 1989. – 1 : 2,35 černobílý/black and white, 2 277 m, 80 min.

Direction: Zdeněk Tyc
Direction of Photography: Jaromír Kačer
Music Composer: Miloslav Kabeláč, Martin Smolka
Editing: Boris Machytka (supervisor Jiří Brožek)
Sound Supervisor: Josef Hubka, Martin Hart, Pavel Dobrovský
(supervisor Jiří Moudrý)
Art Direction: Oldřich Bosák
Make-up: Věra Podpěrová
Pedagogické vedení: doc. Jaroslav Balík, prof. Jan Kališ, doc. Jiří Macháně,
doc Čestmír Církva
Production Manager: Jana Mašíková, Jiří Synek

Idea, Scenario: Jiří Soukup, Jaromír Kačer, Zdeněk Tyc
/Script Advisor: Ivan Arsenjev, Karel Czaban

Petr Forman (Vojtěch)
Barbora Lukešová (Anežka)
Jana Dolanská (Blažena)
Vlastimil Zavřel (Lojza)
Břetislav Rychlík (Venca)
Jiří Hálek (správce)
Jaroslav Mareš (Juz)
Miroslav Zelenka (Choura)
Petr Popelka (Žluva)
Radim Špaček (kluk)
Eva Holubová (sestra)



The action of the film develops in 1946, when a wave of joy shared by everybody and caused by the end of the war ebbing and individual profit was often topical again…
Vojtěch, a man unbelievably straightforward, will and, sometimes, outright barbarous, has passed trough an ordeal: though innocent, he was sent to prison. After his release, he arrives at a village in South Bohemia to make a fresh start there with the help of his friend. Not apt at long-lasting reflections, he wants to defeat the whole world in a duel, plunging headlong into a busy life proper to him.He is successful, finding a job, a widow´s affection and, with it, a roof over his head, he respects the widow but cannot love her.
He is straightforward man, working not for profit, but because work gives a meaning to his life. However, in a village of narrow-minded and where mean tricks are common, he makes enemies by adopting such an attitude… Perhaps, in this wretched company, the revelation of his past contributes to this hatred.
Yet Vojtěch does not worry about anything, because he has fallen in love suddenly. His chosen townswoman. Moreover, he is moved by her serious illness from negative forces come into play, but Vojtěch does not heed warnings given to him. Not being a coward, he is decided to go to the very end of his road. The end of the story is tragic, but not frustrating, because Vojtěch´s destiny is challenge to live shortly and as an authentic human being rather than for a long time and venally.