Police Symphony Orchestra is an amateur music ensemble from Police nad Metují that has reached an impressive level of success. As the first amateur ensemble ever, they performed the Grand Finale at the prestigious international music festival Smetanova Litomyšl and have also appeared on stage at the Rudolfinum concert hall and the Rock for People festival. The time-lapse documentary, which began filming in 2019, follows the joyous efforts of the orchestra’s members, led by their dedicated and enthusiastic manager Petra Soukupová. It captures every stage of collective excitement but also the exhaustion and difficult choices between personal life and demanding work commitments. An impactful aspect of the storytelling is the setting in which this remarkable phenomenon originated—a small-town atmosphere surrounded by stunning landscapes that lend another dimension to the orchestra’s music. This captivating film explores a love for music, brimming with the joy of collective performance experienced alongside a fascinated audience.
We spoke about the film and the orchestra with its director, Dominik Kalivoda.
How did you come to know Police Symphony Orchestra, and why did you decide to make a film about them?
I started filming PSO in 2019, but I had known them since 2017. I wanted to make this film because I was captivated by their energy. At the same time, I wanted to challenge the stereotype that today’s youth are apathetic, glued to their phones and TikTok. I thought that by highlighting this group of people, I could demonstrate that this isn’t true and that if someone dreams and pursues those dreams, it’s achievable—though the path isn’t always easy.
What does the title “The Grand Finale PSO” symbolize?
The reason is simple. Firstly, the term appears several times in the film, but it’s also somewhat metaphorical. We wanted to evoke a feeling in viewers that this might be the end of this musical ensemble. And in a certain sense, it is—but to what extent, viewers will discover in the film.
Do you recall the most emotional moment with the orchestra members?
The orchestra itself is inherently emotional. Most scenes we shot were emotional. Altogether, I spent five years with the ensemble, so there are many such moments. However, one of the most emotional scenes is included in the film—a moment when the main character decides whether to sacrifice her professional career for this amateur ensemble. At one point, I turned off the camera for the first time. I thought it was too much. Later, I regretted stopping filming, but the sound engineer then said something beautiful: “You didn’t act as a director; you acted as a friend.”
What was the reaction from orchestra members when they saw the film?
I expected Petra, the main character, to cry when she saw it. I expected it would move her deeply and make her laugh at times. But after the film ended, she remained silent for about half an hour, which was quite unusual. Then she said that she had relived those five years. She told us not to change anything about the film, stating that this was the truth.
Did you initially plan this film as your debut?
We filmed for three and a half years, and editing took another year and a half. At first, I thought this would be my first film after finishing school, intended for television. However, global events and societal challenges, such as the pandemic and various other issues, extended the project’s duration. After receiving funding support, I realized this would indeed be my first feature-length film. I simply had no time to pursue another project—I dedicated five years entirely to this work.
The 31st IFF ART FILM is made possible thanks to the support of:
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