Luděk Valchář

Luděk Valchář

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Most Known for...

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Toman 2018 (6.3)

This fascinating historical drama looks at the life of "the Czech Schindler," Zdenek Toman, a controversial figure who was an unsavory politician and dubious entrepreneur, but also the savior of hundreds of Eastern European Jews.
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Princ Mamánek 2022 (6.3)

Prince Louis Ottomar Charles XII, born Noble, is very close to his loving mother, Queen Ludmilla. However, Prince Louis is already a bit too old, he is 39 years old. He's afraid of almost everything, doesn't want to get married, and spends most of his life hanging around the sumptuous castle and adjacent fields. The wise King Radomil therefore prepares an unexpected gift for him - the prince wakes up one morning in the forest in ordinary clothes and, accompanied by the rough knight Hudroval, he is to go out into the world to learn what life is all about and perhaps finally grow up. On his great journey of adventure, he will encounter things he has only read about in books. He will meet a powerful wizard, evil witches, a ghost, and the Lady Death herself... and maybe even find the love of his life. What will Mummy say about all this? And will Father King be happy?
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Polski film 2012 (5.2)

“The fact that I’m playing myself doesn’t mean that it’s me.” Four old schoolmates, today well-known Czech actors (Pavel Liška, Tomáš Matonoha, Josef Polášek and Marek Daniel), decide to make a movie together. Their ambitious colleague Jan Budař takes up directing duties and financing has arrived from Poland. What started out pleasantly enough, however, soon goes awry. Liška’s pronunciation difficulties, Daniel’s alter ego Havlát, and Matonoha’s financial machinations turn the shoot into a fight for survival. More than just a film about friendship and the absurdity of actors’ lives, director Marek Najbrt gives us a witty meditation on reality and illusion, and a unique take on the reality film genre. One of Pavel Liška’s on-set comments (“I didn’t know if I should act as if I were acting, or act as if I weren’t acting, or just not act at all”) illustrates the provocative nature of Najbrt’s subversive, quasi-documentary game.