GPO Platform is a film production company founded in 2016 by graduates of the Documentary Film Department at Film and TV School of Academy of Performing Arts in Prague (FAMU). The company focuses on production of original documentary movies and short films, enables creation and provides support to authors of film debuts, experimental films and video art.
We use our vast experience with film direction to help film makers with their production of audiovisual art. We consider our company a collective solution, a platform for directors, painters, photographers and other artists, who feel close connection to movie industry. GPO (Group Production Office) builds on the legacy of British documentarists from the 1930s, who were able to establish a similar community. We own equipment for the entire process of shooting and postproduction of audiovisual artwork. On principal, we support projects created to satisfy a strong urge of the author to express him or herself. Therefore, we do not intend to get involved in the production of advertisement.
KINDLING is a collection of four short experimental film poems, which elaborate on the bond between inner and outer scenery. The individual movies carry their authors’ signatures; however, they are being produced in creative collaboration, which instils unifying characteristics upon them. The goal of the authors is to study the limits and permeability of the film (visual) and musical (auditory) composition. Rhythm and movement are more important to individual authors than the narration itself. The storyline, if present at all, gleams and flashes through to promote the observers’ associations and employ their imagionation rather than tell a story in a linear fashion. Authors’ aim is to introduce KINDLING in two ways. The first one is a classical short film setup and the second one will be a concert format, with live musical accompaniment.
Road movie following 20 colossal paintings of Alfons Mucha’s Slav Epic on their way from the Czech Republic to Japan and into the depth of our own history.
Supported by / City of Prague
The Fall of Consent Communism
The Fall of Consent Communism focuses on the rise of a new system under the communist rule after 1968 and the circumstances of its fall in the late 1980s. It examines the issue through testimonies of the representatives of normalization political elites. The movie exposes their self-deception, lust for power, mutual disagreements, disputes and behind-the-scene activities which resulted in the events of November 1989.
It may seem that the fall of the communist regime has been discussed in great detail many times over. However, that is a rather biased perspective. The prevailing public opinion is that the regime, established after the invasion of soviet armies in 1968, fell apart owing to changes in the USSR after Mikhail Gorbachev rose to power. There has been little mention of social contract and agreement (or rather coercion) between party elites and the public, which complemented each other, and which served to provide a certain validity to the peace solution generally preferred to violence. Jan Rousek’s motion picture will be shot as a study of the mechanisms behind historical events and their orchestrators as they truly unraveled. What does great power look like under scrutiny through the optics of the directly involved parties?
Last Days of Czech mankind in Europe?
Film essay reflecting on the 30-year long development of democracy in one Central European country through parliamentary and presidential election in time of migration crisis and Brexit.
Supported by / The Czech Film Fund
Is It Worth It?
The topic of Jan Strejcovsky’s a(u)ction film is the exploration of the origin of both artistic and market value of individual works of art. The main point of the film investigation of where the value of art actually comes from is to transfer the topic of the movie to the pieces of art themselves and to actually auction them in a staged auction. In order to achieve that, we are negotiating with the prominent both Czech and foreign artists what pieces they would create for our film auction. This allows us to follow the journey of art from curators into the auction hall through the process of artistic creation without being excluded.
Moreover, if we manage to sell that pieces in our auction it would set a precedent. The works of art themselves created to question the process of evaluation and pricing would have been evaluated and priced. Is it one of the traits of the postmodern world? Does it accept its criticism to reach its own success?
Who is missing today?
A documentary, which speaks about people and the world using the metaphor of the destiny of wild birds. It is like a scene from an old Chinese porcelain. Long-legged, long-necked bird lands in a tree. It turns around with slow, feline movements and strides down the slender branch, white-bellied heron (Ardea Insignis), predator living on the southern slopes of the Himalayas. With its impressive two-meter wing span it is the second largest heron in the world. The beauty, rarity and fragility of the Chinese porcelain seems to epitomize their destiny. There are only around 50 of them left in the world. The dramatic lives of these magnificent birds will be depicted in a poetic rather than informative manner as the documentary will follow routine work of an ornithologist, Lubomir Peske. Destinies of the herons and people are intertwined in the ever-smaller world, with one mirroring the other. The movie will watch the efforts of scientists, which do not always end in triumph. Through the daily drudge we are let in on the live relationship with nature in which modern technology plays a crucial role. This particular topic invites the audience to explore the relationship triangle: human-nature-technology. The birds captured on film are critically endangered. And so Lubos’s everyday question: who is missing today? – or as he puts it, in his not perfect French: Qui manque aujourd’hui? – often sadly traverses the destiny of an individual. Among other factors, also thanks to the modern technologies we find out that there are very concrete stories behind the extinction of an entire species.
Supported by / The Czech Film Fund
The cost of living in Prague rose twice faster than the incomes in 2018 while developers’ revenues doubled. The global housing crisis spread in Europe and began to affect the middle class. The author is suddenly forced to move out herself. Leaving her home, she sets off on a journey to seek others in a similar situation paying a high price for the shift in understanding of the meaning of housing. Audiovisual observational triptych searches for the meaning of „home“ and its influence on our everyday lives from three various perspectives. We visit a Spanish „mama hotel“, follow an East European developer in his endeavors and round up in Berlin tailing retirees demanding an expropriation.
Supported by / The Czech Film Fund
Factor of Six
The short film with cinematic shoots capture the “occupants“ of an unknown apartment who silently perform activities bordering on purposeless pastimes and melancholy, even surreal rituals.
Video day / Exhibition
The director has resurged the legendary exhibition of video artists The Day of the Video 1989/2018 as a part of the movie about Czech video art.
He dedicates his time to funding strategies, often collaborates with Jakub Wagner. Focuses on political, social and historical topics.
He completed his earlies studies at the Department of Documentary Movies at FAMU and studied Sociology at the Faculty of Arts at Charles University. He currently attends a postgraduate program at the Department of Documentary Movies at FAMU.
J.D. Michal Danišovič (2010), Invisible Hand of the Market/ Privatization of Barrandov (2012), The Czech Way (2015)
Andrej Stankovič Film Prize
Focuses on producer strategies, often cooperates with Martin Kohout regarding postproduction. Concentrates on social and cultural affairs, while also producing experimental films and video-art. Having completed his studies at the Department of Documentary Movies at FAMU, he also dedicates his time to working as a curator in the field of art inheritance.
Jan Kaplicky: Profile (2005), Váňa (2012), Family Matters (2015), RINO – The Spy Story (2016)
Andrej Stankovič Film Prize, Czech Lion nominee (2012)
Collaborates on some GPO projects as a head of production or executive producer.
Graduate of the Department of Documentary Movies at FAMU.
Igor’s Great Emotion (2012) – winner at Through Young Eyes Festival
Slav Epic Complex (2018) – winner of the TV NOVA festival The Night of Film Hopefuls
Occasionally acts in films (Pavlíček: Bear With Us, Hřebejk: Nonstop Deli, Prušinovský: Back to Square One, Foukal: Martian Ships), or in theatre (Jan Kačena).
Focuses on short films and spots. On occasion collaborates with Czech Television and Post Bellum NPO.
The last “V” of Václav Havel (2012), Heaven Underground (2013), Sofie (2014), Love at the Monastery (2015), Turkish reading book: Crescent between the lines (2019)
PRIX EUROPA SPOT Award in the category Spot My Europe (2005)
Producer, production manager
Company production manager, consults production and distribution strategies with emphasis on international perspective, she also acts as GPO representative abroad.
Studied Arts Management (VŠE) and Production (FAMU). She has collaborated with a range of events as a producer, program and project manager – such as:
One World International Human Rights Documentary Film Festival
Tribute to Václav Havel
Ji.hlava International Documentary Film Festival
Metronome Prague Festival and United Islands music festivals
dok.incubator – international documentary film workshop
Currently also works at Artinii – new film distribution platform.
GPO Platform s.r.o.Dukelských hrdinů 5020/25A Praha 170 00
ID: 04889657 VAT ID: CZ04889657
Director, screenwriter, dramaturge. Often collaborates with GPO as head dramaturge or dramaturgy consultant and coauthor.
Documentarist, cinematographer, lecturer at FAMU. Partners as cinematographer and director.
Director. Cooperates as director, currently is working with Tomas Bojar and preparing a film with the working title Entrance exams, focusing on what happens behind the scenes at entrance exams for the Academy of Fine Arts in Prague.
Cooperates as a director, sometimes cinematographer and has also taken part in the organizational aspect of the experimental project Krastí. Currently is working on her new film with GPO.
Director, journalist. Currently developing her new film Housing Expo(sed).
Historician and documentarist. In collaboration with GPO, he is finishing his new film The Fall of Consent Communism.
Director, dramaturge. Dedicates her time to dramaturgic collaboration and is currently preparing a film about Egon Bondy.
Documentarist, cinematographer, lecturer at FAMU. Collaborates on a number of projects as a cinematographer and co-director.
Intermedia artist. Together with GPO coproduces her film Factor of Six for the Jindřich Chalupecky prize, for which she was nominated in 2016. Currently works on her new concept of an art installation for the Czech Center in Berlin.
Cinematographer, scenographer, puppeteer. Collaborates as cinematographer, sometimes takes part in postproduction. Also focuses on the technical side of scenes that require above-standard solutions.
Director, cinematographer. Collaborates on a range of projects as a cinematographer.
Sound designer, conceptual artist. Collaborates on shooting and sounf postproduction on a number of projects.