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Saint Sebastian’s Cry is intended to be a live-action historical feature film with balladic traits. It takes place in 1348 when Europe struggled with the worst plague epidemic to date. This work aims for the most authentic portrayal of the medieval era, to create a specific symbolic space where images, dreams and cultural archetypes are as palpable as beings and items. This is supplemented by specific setting in two different environments: the fort during the first part of the film and the forest during the second part. The fort represents rules and certainty, the forest represents a labyrinth, uneasiness and constantly present danger.

The plague serves the film as a source of danger that creates acute situations. The core theme of the film is the (currently highly topical) racial and religious intolerance, but most importantly the hatred perceived as a man’s condition causing his self-destruction. The film’s perspective is neither political nor social. The author’s view the theme of intolerance as a question bound to each individual. The heroes undertake a journey both physically and spiritually, the outer reality merges with the one inside and in turn, the world becomes a reflection of a man’s spirit. The authors’ intention is to create a place for illustrative narration and wordless expression of emotions and affections, in contrast to the current literal and dialogic narrative tendencies.

A part of the author’s intention is to put a strong accent on the ambiguity of both main and supporting characters, while each represents a specific attitude and presents himself with inconsistent behaviour. This is why one of the film’s governing features is its composition divided into two parts of different narrative perspectives. We follow the first part of the film with the character of Siegfried and his close ones, but in the second part the view leaves the hero to takes the perspective of his adversaries.

The dramatic plot focuses mainly on two members of lower nobility; Siegfried, the master of the fort, and Gottfried, a knight in the service of the bishop. On the basis of his conviction, the rational Siegfried refuses to accept the persecution of the Jews as a display of senseless barbarism. Gottfried, on the other hand, fulfils his master’s orders fanatically. However, under the pressure of dramatic events, both characters re-evaluate their respective attitudes. Having been humiliated, Siegfried becomes a relentless executor of vengeance, while Gottfried experiences an epiphany. This way, the film would not present unambiguous types and would not allow categorizing the characters in an easy way based on simplistic moral criteria. 


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Ondřej Malý



Ján Smolka



Kamila Janovičová



Matouš Ruml

(Clovis the Squire)


Tereza Rumlová

(Lora the Maid)


Pavla Dostálová



Filip Kaňkovský



Jiří Kohout



Zdeněk Julina

(Bishop Bernhard)


Martin Sítek



Bořek Joura



Zdeněk Vévoda



Martin Lukáš



Viktor Zavadil

(Pan z Friedenbergu)




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Milan Cyroň

screenwriter, director, editor and producer

Tomáš Uher

screenwriter, director


Barbora Németh

script editor

Lukáš Masner


Andy Fehu



Jan Tomšů

music and sound


Daniel Vondra

assistant producer


Klára Vašáková

assistant producer


Natálie Šotnarová

assistant director


Tomáš Straka

technical consultant, costumes


Zdeněk Vévoda

public relations


Vendula Bělochová

stage design


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Production pictures


download (.zip)


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Press release (.doc, 13. 3. 2017)

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+420 608 219 667


+420 721 308 935


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