You're listening to an Airwave Media podcast.

Christopher Media. Let's make some noise. Welcome to the projection booth. I'm your host, Mike White. Join me is Mr. Ben Buckingham.

Good evening.

Also with us is Mr. Martin Kessler.

Hello, I've been listening for a while, so thank you for having me on.

This week we are looking at Carol Kakignas the ear.

Did I say that right, Martin?

Well, enough, yeah.

Apologies for the way I pronounce things.

It was one of the filmic casualties of the Prague Spring Uprising and the invasion of the Soviets.

The film was locked away for 20 years and only began screening after the Velvet Revolution

and had a screening in 1990 at the Cannes Film Festival where Cochena was nominated for a Palm Door.

The film is a paranoid tale of a night after a political purge where our main characters,

Ludvick and Anna, argue while learning how they became the subject of government surveillance.

Of course, we'll be spoiling the film as much as you can as we go along, so please be warned.

Ben, had you seen this film before you agreed to be on the podcast?

I had. This was actually one of my first introductions to Czechoslovakian cinema. I was very

fortunate about 10 years ago, I think it was, maybe 12. The local Melbourne Cinematheque had a season of Czech surrealism,

had such titles as Daisies and Valerie Ender Weeker Wonders,

some Spunk Meyer and The Year.

I'm glad that I saw it like that in that mix,

because on the surface, it doesn't necessarily appear to be a surrealist film

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