In 2014, the national film awards, Sun in a Net (Slnko v sieti), will be awarded. They are awarded every other year and this time the Slovak Film and Television Academy (SFTA) will decide on the best creative performances and films which were made in 2012 or 2013 and released between 1 January 2012 and 31 […]
By the end of 2013, a total of 131 screening rooms in 65 cinemas were digitised, of which 44 were single-screen cinemas. Most of them were digitised thanks to support from the Slovak Audiovisual Fund (AVF). The share of digitised cinemas is 44.83% of all 145 registered cinemas, out-door cinemas and alternative premises in Slovakia. […]
In July 2013 the Ministry of Culture presented a draft amendment to the Audiovisual Fund Act with the aim of attracting big film productions to Slovakia and thereby supporting the film industry. The amendment was adopted by the National Council in October 2013 and it entered into force on 1 January 2014. Pursuant to the […]
In December last year, the Slovak Film Institute (SFI) began its collaboration with the Czech distribution portal of the Doc Alliance initiative, DAFilms.cz, for the Slovak environment, in tandem with the distribution company Filmtopia supported by the Slovak Audiovisual Fund. Hence, visitors to the portal had the opportunity to watch a collection of Slovak documentaries […]
Publication Activities of the SFI The Slovak Film Institute (SFI) is the sole domestic publisher specialising exclusively in the publication of professional film literature and its DVD production, mapping the history of Slovak cinema, is also exceptional. In 2013, the SFI issued three filmological works – the monograph Diptych Štefana Uhra – Organ a Tri […]
The SFI Offers the Best Beyond the Borders The Slovak Film Institute (SFI) collaborates with foreign companies also in order to present to international audiences the top-quality works of Slovak cinema on DVD. Malavida Films presents them to the francophone market and the SFI recently started to collaborate with the British Second Run. Hence, films […]
Digital Audiovision Is One of the Most Important Projects The national Digital Audiovision Project has been one of the ongoing priorities of the Slovak Film Institute (SFI) since 2011. Systematic digitisation and making the digital content accessible through memory and fund institutes are the main objectives of the Project. This is the largest digitisation project […]
The Slovak Film Institute (SFI) celebrated its 50th anniversary last year and this is the 15th year of publication of the monthly Film.sk. Currently, the SFI is managed by General Director Peter Dubecky and it consists of two basic units – the National Film Archive (NFA) and the National Cinematographic Centre (NCC). The Film Archive […]
The Czechoslovak New Wave Was Special Last year a new publication of the Slovak Film Institute, Best of Slovak Film (1921 – 1991), was launched first at Art Film Fest in Trenčianske Teplice and subsequently at the Karlovy Vary IFF. It was published in English and it contains information on the thirty-five most significant films […]
Excitement of Documentary Unpredictability After the successful start at the Karlovy Vary IFF, where Velvet Terrorists won the FEDEORA Award in July 2013, three Slovak documentary filmmakers are getting an international première of their film. The project, prepared initially by Palo Pekarčík and Ivan Ostrochovský, who were later joined by Peter Kerekes, will be presented […]
The Thick Black Line The release of the Slovak-Czech documentary Normalization (presented in Slovakia as The Cervanová Case – Kauza Cervanová) in cinemas was accompanied by unprecedented interest from the mass media which accorded the film all the hallmarks of being a real event. Otherwise reserved opinion-makers among film reviewers were also mesmerised by the […]
Orphans and Their Parents After Fine, Thanks by Mátyás Prikler and My Dog Killer by Mira Fornay, Miracle by Juraj Lehotský has become the third film with a social theme to be quite successful at festivals in 2013. We cannot speak of social films as mainstream in cinematography; they resemble rather an unpredictably winding stream […]
