同樣的嘆息與對命運的嘲弄口吻，在鏡頭前現身的不再是演員，而是歐莉本人，在漏水的公寓裡擺弄攝影機，拍下自己從早到晚，受貧窮和病痛折磨，毫無浪漫可言的困難生活。《失憶日記》發表一年後，導演重新編纂歐莉本人拍攝的片段，並將用於前作的音檔，放回原生語境，反向凸顯紀錄片的歧義性，以及虛構與真實的潛力。 《失憶日記》與《失憶實錄》在某種程度上是互補的，它們指向紀錄片拍攝中接近現實的不同方式——作者觀點與被稱之為「真實現實」的純粹紀錄。」

Mrs O. tosses a chicken from her balcony. Mrs O. thinks her neighbor is a secret agent. Mrs O. has Alzheimer’s, but her pet name for her disease is “Alda.” With great humor, irony, and self-deprecating insight, this defiant and willful woman commentates on her own daily life in Prague. There’s a list on the door of friends and family members she’s allowed to let in even if she doesn’t recognize them. Sometimes she thinks she’s living under Communist rule, and she worries that if she doesn’t hang out a flag on Labor Day she’ll be arrested.

Scientist Edward O. Wilson has named the coming geological era Eremocene. In her analogue science fiction essay, Viera Čákanyová explores this era of loneliness in dialogue with a virtual alter ego from the future.

The film is a reaction to the current wave of post-humanist thinking caused by the development of technology and artifi cial intelligence as well as the climate crisis. The human species is beginning to realize its insignifi cance and transience, and human identity has found itself in a crisis. The fi lm FREM attempts to refl ect this feeling and creates a dehumanized and alienated view of landscape and nature beyond human perception of reality. Incomplete thoughts and fragments of dialogue, diverse music interrupted by rushes and glitches, and the seemingly confused, unanchored camera, create a disturbing, philosophical refl ection on the limits of anthropocentric thinking. "Making this film was an extreme experience, in every aspect, not only physical, since we shot in Antarctica. I had to think un-thinkable. Leave the prison of anthropomorphism behind. Stop being human." V. Čákanyová

How to explain the notion of Slovakia of the past twenty years to a stranger, a visitor from another planet What is the genetic makeup the software of Slovakia? How to use it? How does it change? Slovakia 2.0 is a film about twenty years of independent Slovakia as seen from the perspective of ten film directors. It is composed of ten 10-minute films of different genres ranging from drama, through animation and documentaries, to experimental film. The ten recognized film directors who offer an answer to what is Slovakia include a wide range of generations, views and genres. The result is unique artistic reflection of contemporary history of Slovakia and, equally, a reflection of Slovak cinematography in its different forms. Written by Anonymous

White on White is the video diary that filmmaker Viera Čákanyová kept while staying at the Polish Antarctic station, where she shot her neural network-led film FREM (2019) in 2017. During her stay, the author talks with a compellingly conversant AI chat bot, driving conversations that touch on the nature of film, art, and the meaning of life, while also revealing a way of thinking which – free from a distinctly human emotionality – forces deep introspection. Footage from her ordinary, everyday life at the station contrasts with lyrical images of the Antarctic’s immaculate scenery and wildlife. Čákanyová complements this with her own probing and intelligent commentary, provoked by the loneliness of the ice-covered landscape.