04/07/2023 - Robert Hloz’s “Czech Blade Runner” marries retrofuturist cyberpunk aesthetics with an exploration of the nature of humankind that will captivate both mainstream and arthouse audiences

Czech cinema boasts a rich and varied legacy in the realm of science fiction, with iconic works ranging from the legendary Ikarie XB-1 to Karel Zeman's pioneering escapades, and the sci-fi comedies of Václav Vorlíček and Miloš Macourek. In recent times, national cinema has flirted with the genre in Aurel Klimt's animated musical comedy Lajka [+see also:
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The narrative of Restore Point unfolds in 2041, an era in which every citizen has a constitutional right to live out their full lifespan. A revolutionary technology, the eponymous Restore Point, offers the prospect of resurrection following an untimely demise, granted the person routinely backs up their brain data every 48 hours. Our protagonist, a young detective named Emma Trochinowska (Andrea Mohylová), is hot on the trail of River of Life, a group rebelling against the "unnatural" resurrection technology by disrupting civilian life with acts of terrorism. Trochinowska, a rising luminary in the police force, becomes embroiled in an intricate plot involving the conservative terrorist group, the Institute of Restoration – the only authority capable of reviving people – and a clandestine agenda teetering on conspiracy.

Restore Point is a plot-driven, noirish crime movie blended with speculative sci-fi, delving into some profound questions. The resurrection technology, essentially a prototype for immortality, triggers an exploration of various emotional, psychological, social, ethical, moral and political implications. Scriptwriters Tomislav Čečka, Robert Hloz and Zdeněk Jecelín adeptly address these themes through subplots and casual dialogues, skilfully depicting a world where such technology exists and its subsequent repercussions. The film strikes an elusive balance between a genre-driven story and a work that philosophises about the societal and individual impacts of such technology, thereby drawing in an action- and genre-seeking mainstream audience as well as more arthouse-orientated viewers willing to engage in a meticulously designed and layered thought experiment.

Dubbed the “Czech Blade Runner” on account of its cyberpunk aesthetic, the film presents an intriguing vision of enhanced buildings and objects in a retrofuturistic style or, more fittingly, considering the Central European setting, a "sociofuturist" aesthetic. Production designer Ondřej Lipenský and the whole art department have successfully brought Hloz's vision to life by crafting a plausible world replete with futuristic gadgets while honouring the spirit of retrofuturism.

Set in Prague, where cyberpunk elements dominate and political commentary underscores the tension between advancing technology and capitalism, the narrative takes on a rogue dimension as it ventures beyond the city limits, with the protagonist investigating a group of Luddites. This contrast not only pertains to the film's topical themes, questioning human nature, but also its aesthetic transitions – from Blade Runner-inspired cyberpunk to austere, dystopian visuals reminiscent of Children of Men. In the final act, the movie returns to its original aesthetic, albeit with elements of biopunk.

On the heels of Vesper [+see also:
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interview: Kristina Buožytė and Bruno …
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Restore Point was produced by Czech outfit Film Kolektiv, and co-produced by Slovakia’s D.N.A. Production, Poland’s Film Produkcja, Serbia’s Mali Budo, Czech Television and Magiclab. Restore Point has a theatrical release secured in all co-producing countries. Sales agent XYZ Films has already landed distribution deals in Germany, Switzerland, France, the Scandinavian territories, Australia and New Zealand.