Many of the young workers at an aircraft factory near Prague are members of an aviation club. On the one hand, there is the responsible Franta, who is highly regarded by his colleagues due to his understanding nature. Opposite him is the talented aircraft designer Ruda, who is also an excellent pilot, but also hotheaded, undisciplined and condescending towards his colleagues. He starts flirting with the glass grinder Lída, although he knows that she is Franta's girl friend. A conflict is not long in coming. When Franta's glider crashes due to a suspected mistake by Ruda, Ruda is banned for a certain period of time. This is fatal, because both young men were actually supposed to represent Czechoslovakia at the upcoming international gliding championships in Poland.
Franta Hronek
Vašek Vydra
Modleszewski
Foreman
Bořivoj Šantroch
Many of the young workers at an aircraft factory near Prague are members of an aviation club. On the one hand, there is the responsible Franta, who is highly regarded by his colleagues due to his understanding nature. Opposite him is the talented aircraft designer Ruda, who is also an excellent pilot, but also hotheaded, undisciplined and condescending towards his colleagues. He starts flirting with the glass grinder Lída, although he knows that she is Franta's girl friend. A conflict is not long in coming. When Franta's glider crashes due to a suspected mistake by Ruda, Ruda is banned for a certain period of time. This is fatal, because both young men were actually supposed to represent Czechoslovakia at the upcoming international gliding championships in Poland.
1951-01-01
6
‘Finding Fanon’ is the first part in a series of works by artists Larry Achiampong and David Blandy; inspired by the lost plays of Frantz Fanon, (1925-1961) a politically radical humanist whose practice dealt with the psychopathology of colonisation and the social and cultural consequences of decolonisation. In the film, the two artists negotiate Fanon’s ideas, examining the politics of race, racism and the post-colonial, and how these societal issues affect their relationship. Their conflict is played out through a script that melds found texts and personal testimony, transposing their drama to a junkyard houseboat at an unspecified time in the future. Navigating the past, present and future, Achiampong and Blandy question the promise of globalisation, recognising its impact on their own heritage.
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