The first short story "Naked in the Thorns" tells the story of a man whose clothes were taken away by a dog during his bath in the river. In the second short story "Games of Love", a retired professor paints a biblical scene of Susan and the old man. In the last short story, "Fidelity", the dog Argos perishes while defending his beloved master.

A verger, who likes to dress as a priest, is invited, by one of the villagers, to be the pastor at a vacant church. The atheist teacher resents the pastor, and tries to embarrass him in various ways, including being caught with the local girl, Majka.

伊華．舒爾姆被尊為捷克新浪潮的「哲人」和「良心」，究其原因，是他敢於直視政治和社會、抨擊其虛偽蒙騙的道德執著。首部執導的劇情片開創新浪潮鞭撻現實的風氣。年青的模範工人向來奉行為黨為人民鞠躬盡粹的信念，可制度的高壓、特權階層的跋扈使他進退兩難，不肯放棄真理，代價是喪失一切。影片以寫實的新電影觀衝擊社會主義現實主義的教條，拆解政治的神話和謊言，一針見血的指出國家的腐化狀況，可謂言人所未言，回應了時代的呼喚，難怪立即被禁，兩年後才得見天日。舒爾姆於六十年代的創作成績斐然，可惜「布拉格之春」後被禁拍片多年，境遇一如他創造的悲劇人物。 盧卡諾國際電影節大獎、捷克影評人協會年度大獎 毫無疑問是捷克新浪潮最重要的領軍作品之一，曾長期被禁，是東歐首部成功處理異化，以及革命者與野心家之間的矛盾的影片。此作亦令舒爾姆成為捷克電影新浪潮的思想領袖。 - Amos Vogel, Film as a Subversive Art Any director will tell you that making a film takes courage. But making a film that blatantly criticizes the repressive Communist government of your country? That takes real courage. No wonder Evald Schorm was long known as “the conscience of the Czech New Wave” — he even was forced to stop making films for 18 years, as the Soviet censors considered his vision too subversive. Courage for Every Day was his first move into such dangerous territory, portraying the life and changing times of average factory worker Jarda Lukas. At first loyal to the party and its ideals, Lukas gradually wakes up to the corruption all around him—tracing the journey of a man from faith to disillusionment. Grand Prize at Locarno International Film Festival, Annual Prize of Czech Film Critics Possibly the most influential and most accomplished work of the Czech renaissance, this story of a disillusioned young Communist increasingly at odds with his environment touched on themes of alienation, opportunism, the exhaustion of ideology, and charted with progress of a secular crucifixion. - Amos Vogel, Film as a Subversive Art Source: HKIFF Czech New Wave 2006

This apocalyptic parable carries within it a clear echo of the 1968 invasion of Czechoslovakia. This unforgiving exploration of the Czech mentality tells the tale of a troupe of wandering actors who perform a passion play in some unnamed village. Fear of some unknown danger breaks out in the village, which is cut off from the surrounding world. Stupidity, selfishness and aggressiveness then come to the surface in this society under threat. In the film's key scene, a woman is raped by the self-styled leader. Zdenuk Mahler, who would later work on Forman's examination Mozart Amadeus, worked on the script. The director Evald Schorm (1929-1988) was one of the most original members of the Czech "New Wave". During the "normalization" era, Schorm spent many years unable to direct. His last film, Killing with Kindness (1988) was only made in the twilight years of Communism. During that period when he was unable to direct films, he became an outstanding stage director. He directed groundbreaking productions at the "Na zábradlí" Theater and Laterna Magika.

Jan Poutnik (Vladimir Pucholt) was born in Czechoslovakia but has emigrated to the United States, where he teaches film courses at a New York college. Pampeliska (Ingrid Timkova), a young widow from Jan's home town of Bystre, has come to America to visit, and has brought with her a pocket watch once owned by Jan's father, which she presents to him. Jan introduces Pampeliska to his close friend Adam (Adam Davidson), and soon Adam finds himself falling in love with the widow, while Jan finds his mind filled with thoughts of Bystre, some nostalgic and some poisoned by the horrors of war. In time, both Jan and Adam pay a visit to the Czech Republic, though their reactions are very different. The original Czech title of Navrat ztraceneho raje / Which Side Eden translates roughly into English as Return of Paradise Lost. ~ Mark Deming, Rovi Read more: