{"id":46324,"date":"2025-06-24T09:00:16","date_gmt":"2025-06-24T07:00:16","guid":{"rendered":"https:\/\/iffartfilm.com\/?p=46324"},"modified":"2025-08-05T20:18:07","modified_gmt":"2025-08-05T18:18:07","slug":"thirty-years-of-the-legendary-film-the-garden-1995-director-martin-sulik-and-screenwriter-marek-lescak-on-the-films-creation-collaboration-and-the-younger-generation","status":"publish","type":"post","link":"https:\/\/iffartfilm.com\/en\/blog\/news\/2025\/06\/thirty-years-of-the-legendary-film-the-garden-1995-director-martin-sulik-and-screenwriter-marek-lescak-on-the-films-creation-collaboration-and-the-younger-generation\/","title":{"rendered":"Thirty Years of the Legendary Film The Garden (1995): Director Martin \u0160ul\u00edk and Screenwriter Marek Le\u0161\u010d\u00e1k on the Film\u2019s Creation, Collaboration, and the Younger Generation"},"content":{"rendered":"<p>Martin \u0160trba, one of Slovakia\u2019s most prominent contemporary cinematographers, will receive the Golden Camera award for outstanding artistic contribution to Slovak cinematography at the 31st edition of the IFF Art Film festival in Ko\u0161ice. In connection with this honor, the festival\u2019s program features several significant Slovak films that \u0160trba worked on as a cinematographer. One of these is the legendary Slovak film <em>The Garden<\/em> (1995), which was personally introduced at the IFF Art Film festival by director Martin \u0160ul\u00edk and screenwriter Marek Le\u0161\u010d\u00e1k. They spoke with festival spokesperson Juraj \u010curn\u00fd about their memories of making <em>The Garden<\/em>. Additionally, Martin \u0160trba will hold a Masterclass titled \u201cCinematography in Slovak and Czech Film\u201d on June 25 at 1:00 PM in the Kulturpark Alfa Gallery.<\/p>\n<p><iframe loading=\"lazy\" title=\"IFF AF 2025 | Martin \u0160ul\u00edk a Marek Le\u0161\u010d\u00e1k (film Z\u00e1hrada)\" width=\"1220\" height=\"686\" src=\"https:\/\/www.youtube.com\/embed\/R-PdXLt1wq0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p><strong>What place does <em>The Garden<\/em> hold in your professional and perhaps personal life?<\/strong><\/p>\n<p><em>Martin \u0160ul\u00edk: You know, it was my third film, and the first two played with a simple form. I tried to shoot them with as few shots as possible, using the simplest compositions, and the storytelling was straightforward. With The Garden, I decided to try making a film that was a bit livelier and had more humor than the previous ones. When Marek and I started writing it, and later Ondrej \u0160ulaj joined us, we aimed to make the film somewhat entertaining. For example, when we wrote the opening sequence where Jakub arrives at the garden, we decided to shoot it as a slapstick comedy. We loved slapstick, and when the greenhouse falls on the protagonist but doesn\u2019t crush him, leaving him standing\u2014that\u2019s actually a tribute to Harold Lloyd, where a house falls on him but he remains standing. In that sense, it was a film where I was learning to make movies, and I felt I had made something roughly the way I wanted.<\/em><\/p>\n<p><em>Marek Le\u0161\u010d\u00e1k: Martin was my teacher at school, and before that, we had co-written a script where a character named Elena appeared, and she made it into The Garden. For me, it was the first realized film, and we continued working together afterward. It was also an immediate success, which meant a very strong start in life. I\u2019m glad the collaboration continues. It\u2019s curious why this film resonated so much. It was made during a very tumultuous time\u2014there were big political and social changes. When we tried to find a topic to capture that, we realized everything quickly became outdated. Then we talked about a story of a man seeking an escape from the world and redefining relationships and values. I feel that connected with people because they too needed inner escape, calm, and reflection.<\/em><\/p>\n<p><strong>How did you decide on casting the roles? Almost all the main actors have legendary characters, and that applies to the supporting roles as well.<\/strong><\/p>\n<p><em>Martin \u0160ul\u00edk: When we wrote the script, we didn\u2019t have a specific idea of who would play the roles, and we thought about it for quite a while. Interestingly, we didn\u2019t hold auditions but met people. The first cast was Roman Lukn\u00e1r, and for a long time, we couldn\u2019t find the girl to play the Virgin Miracle. When we were writing at Ondrej \u0160ulaj\u2019s place, Zuzana\u2014who was sixteen or seventeen and starting at the School of Applied Arts\u2014was always there. When we were completely at a loss, I asked her, and she said she didn\u2019t mind playing the role. That spontaneity and naturalness she had as an untrained actress turned out to be a great asset. As for the others, I especially like what J\u00e1n Melkovi\u010d does as Saint Benedict, Stanislav \u0160tepka plays Jean-Jacques Rousseau, and Ferko Kov\u00e1r plays Wittgenstein. For example, in the script, Wittgenstein runs and jumps over a fence, and for that shot, a high jumper stood in as a stunt double, and we helped with a trampoline (laughs). A lot had to be improvised on set. Electronic post-production existed in 1994 but not in Czechoslovakia, so everything in the film was done practically on set. Even the final levitation was done by sheer willpower (laughs). The fall from the ladder was real\u2014all practical effects. We were lucky to have a great crew, and we shot in Myjava, where we stayed for a month. A special community formed among the people involved, with intense dedication. I\u2019d say the lines between professions blurred\u2014everyone cared deeply about the film. Everyone listed in the credits really worked intensely, putting a part of their lives and ideas into it. We had more time then because we were younger. It\u2019s not about the social system but about age. The older you get, the more responsibilities you have, family, but that intensity back then was incredibly strong.<\/em><\/p>\n<p><strong>The film is also being screened as part of the festival\u2019s section dedicated to honorary award recipients, in this case the Golden Camera won by Martin \u0160trba. Martin \u0160trba was the cinematographer not only for this film but, except for one, for all your feature films. How did your professional\u2014and presumably personal\u2014connection begin?<\/strong><\/p>\n<p><em>Martin \u0160ul\u00edk: Martin and I didn\u2019t study together because he attended FAMU and was part of a group of Slovak photographers called something like the Slovak New Wave. Although he wasn\u2019t a photographer but a cinematographer, when I was preparing to shoot my first film, I wanted someone from that group. Until then, I worked with Alojz Han\u00fasek, who was the cinematographer for Du\u0161an Han\u00e1k\u2019s Pictures of the Old World and later Paper Heads. But I wanted someone closer to my generation, who might capture something different, from a different perspective than what was usual in Slovakia until then. So we met Martin and agreed to shoot in the style of his photography\u2014how he photographed: the connection between people and nature. Many things are done similarly even though the film is in color and Martin\u2019s photos are black and white. We somehow understood each other, partly because we felt many things similarly, but Martin is also different from me. With him, dialogue is possible because he doesn\u2019t always agree with everything or see things my way\u2014each of us has a different view. We\u2019re friends, and that made it a creative solution for me: what Martin offers and how we work together is a pleasant creative collaboration. I realized that if people feel exactly the same, it\u2019s like kicking a ball against a wall\u2014it comes back the way you kicked it. After all these years working together, Martin has worked with many other directors and gained new experiences, using different technologies. In later films, for example, he worked with digital film, like with Vladim\u00edr Mich\u00e1lek in Prague, and then we worked together on Kl\u00ed\u010d k ur\u010dov\u00e1n\u00ed trpasl\u00edk\u016f (2002). He brought a completely new experience to our collaboration. I don\u2019t do all my films with Martin\u2014documentaries I make with Richard Krivda, and Gypsy (2011) was done with Martin \u0160ec. Working with others is refreshing because it brings new experiences.<\/em><\/p>\n<p><em>Marek Le\u0161\u010d\u00e1k: I would just add that practically after The Garden, Slovak cinematography was, let\u2019s say, decimated, destroyed. Martin was one of those who, if they wanted to realize projects, went to the Czech Republic. He wasn\u2019t the only one; it was a large group of creators seeking opportunities there. But whenever something was done in Slovakia, he naturally collaborated.<\/em><\/p>\n<p><strong>Yet you mostly rely on the same collaborators\u2014is that because you already know how you respond to each other and what to expect? Vladim\u00edr God\u00e1r, and producer Rudolf Biermann as well?<\/strong><\/p>\n<p><em>Martin \u0160ul\u00edk: Probably yes, but it\u2019s also important that the themes are somehow related. I think each of us has limits, and maybe if I made a different type of film, I\u2019d work with other people. The themes I shoot somehow affect these people. Because we\u2019re friends and live close lives, we experience similar stories, and often the films contain experiences of mine, Marek\u2019s, Du\u0161ek\u2019s, and others around us. It\u2019s strange. Sometimes I thought it would be good to change the crew; I tried it a few times\u2014made, say, commercials with another crew\u2014and I realized that when we make a film with Martin \u0160trba, Fero Lipt\u00e1k, or Katka Hol\u00e1, the communication works almost without words. We don\u2019t have to explain basic things.<\/em><\/p>\n<p><strong>What are you working on now? Together or with others, in terms of screenwriting or directing?<\/strong><\/p>\n<p><em>Marek Le\u0161\u010d\u00e1k: We\u2019re preparing a feature film. We\u2019re trying to write the second version of the script and will see what happens.<\/em><br \/>\n<em>Martin \u0160ul\u00edk: It\u2019s getting harder because we have very little time, and both of us teach at university. Meeting two weeks in a row is a big challenge.<\/em><\/p>\n<p><strong>At the start of the film screening, it was mentioned that your students requested <em>The Garden<\/em> because they wanted to see it, right? Film students are from a different generation. How do they perceive this film?<\/strong><\/p>\n<p><em>Marek Le\u0161\u010d\u00e1k: We were curious ourselves. They could have just watched it as a requirement and thought it was a bad idea, but their reactions were very lively, and it seemed to resonate with them. The themes and the language didn\u2019t feel old to them. That surprised us, and the discussion was very engaging. I admit I was a bit worried because it is a thirty-year-old film, but I think it gave them something.<\/em><\/p>\n<p><em>Martin \u0160ul\u00edk: It was interesting that many questions were about different film production technology and the social situation when the film was made. The students were mostly from the editing department and were interested in things beyond just the film. Film production has changed completely in thirty years. How a film was made then and how it\u2019s made today is entirely different\u2014the camera, sound, there are many more possibilities. Digital technology has advanced cinematography by democratizing filmmaking. More people today have the chance to make films. For example, when I look at student works submitted for entrance exams, they already have storytelling through images and film deeply in their DNA. Our culture is a visual culture, and they watch a lot of films. So the discussion with young people was also about how the world has changed. They had two \u201cdinosaurs\u201d\u2014I was a complete dinosaur, Marek a young dinosaur\u2014but we could talk about how things have evolved since then.<\/em><\/p>\n<hr \/>\n<p><b>The 31st IFF ART FILM is made possible thanks to the support of:<\/b><\/p>\n<p><b>Organizer:<\/b><span style=\"font-weight: 400;\"> ART FILM FEST s.r.o.<\/span><\/p>\n<p><b>Co-organizers:<\/b><span style=\"font-weight: 400;\"> Mesto Ko\u0161ice \u00b7 K13 \u2013 Ko\u0161ick\u00e9 kult\u00farne centr\u00e1 \u00b7 Visit Ko\u0161ice \u00b7 ART FILM FEST, n.o. \u00b7 LGM, s.r.o. \u00b7 FORLIVE<\/span><\/p>\n<p><b>Financial support:<\/b><span style=\"font-weight: 400;\"> Audiovizu\u00e1lny fond \u00b7 Nad\u00e1cia SPP<\/span><\/p>\n<p><b>Co-financed by:<\/b><span style=\"font-weight: 400;\"> Ko\u0161ick\u00fd samospr\u00e1vny kraj through the Terra Incognita programme<\/span><\/p>\n<p><b>Main Partners<\/b><span style=\"font-weight: 400;\">: n\u00e1rodn\u00e1 lot\u00e9riov\u00e1 spolo\u010dnos\u0165 TIPOS \u00b7 Slovensk\u00e1 elektriza\u010dn\u00e1 prenosov\u00e1 s\u00fastava, a.s. \u00b7 CODES Brand House<\/span><\/p>\n<p><b>Main Media Partners: <\/b><span style=\"font-weight: 400;\">TV JOJ \u00b7 Pravda \u00b7 Eurotelev\u00edzia<\/span><\/p>\n<p><b>Automotive Partner: <\/b><span style=\"font-weight: 400;\">Moris Slovakia<\/span><\/p>\n<p><b>Advertising Partners: <\/b><span style=\"font-weight: 400;\">Best Press \u00b7 U. S. Steel Ko\u0161ice \u00b7 ANTIK telecom \u00b7 Kino \u00dasmev \u00b7 LOKO TRANS Media \u00b7 CORE Labs \u00b7 Technick\u00e1 univerzita v Ko\u0161iciach<\/span><\/p>\n<p><b>Technology Partners: <\/b><span style=\"font-weight: 400;\">NOV \u00b7 ZEBRA \u00b7 Deutsche Telekom Systems Solutions Slovakia \u00b7 T4H \u00b7 LEDGO \u00b7 DELTA OnLine \u00b7 ARICOMA \u00b7 TelekomCLOUD<\/span><\/p>\n<p><b>Official Suppliers: <\/b><span style=\"font-weight: 400;\">DKC Veritas \u00b7 Kaviare\u0148 Sl\u00e1via \u00b7 PLOOM \u00b7 Kru\u0161ovice BOH\u00c9M \u00b7 pramenit\u00e1 voda Lucka \u00b7 DOMOS SLOVAKIA \u00b7 Re\u0161taur\u00e1cia Contessa \u00b7 Aupark Shopping Center Ko\u0161ice \u00b7 Pierre Baguette \u00b7 Julius Meinl \u00b7 Red Fox Golf Club<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><b>Official wines:<\/b><span style=\"font-weight: 400;\"> Kubbo Select \u00b7 Ostro\u017eovi\u010d<\/span><\/p>\n<p><b>Media Partners: <\/b><span style=\"font-weight: 400;\">JOJ play \u00b7 JOJ 24 \u00b7 Film Europe \u00b7 R\u00e1dio KO\u0160ICE \u00b7 Aktuality.sk \u00b7 Forbes \u00b7 Startitup.sk \u00b7 Korz\u00e1r \u00b7 Slovenka \u00b7 SITA \u00b7 TASR \u00b7 Mediaboard \u00b7 See &amp; Go \u00b7 \u010cesko-Slovensk\u00e1 filmov\u00e1 datab\u00e1ze \u2013 \u010cSFD \u00b7 BigMedia \u00b7 Ko\u0161ice City Guide \u00b7 Ko\u0161ice v skratke \u00b7 Film.sk \u00b7 diva.sk \u00b7 koktejl.sk \u00b7 zenskyweb.sk \u00b7 MOJAkult\u00fara \u00b7 Kino Sterio \u00b7 Dopravn\u00fd podnik mesta Ko\u0161ice \u00b7 AHOJ TV<\/span><\/p>\n<p><b>Partners: <\/b><span style=\"font-weight: 400;\">JOJ Cinema \u00b7 Jojko \u00b7 Ve\u013evyslanectvo Indie v Bratislave \u00b7 Carmeuse Slovakia \u00b7 DDDental \u00b7 TINY Houses \u00b7 ECO Technologies \u00b7 Letisko Ko\u0161ice \u00b7 Local Nomad Tours \u00b7 Slovensk\u00fd filmov\u00fd \u00fastav \u00b7 Taper \u00b7 YumEarth \u00b7 Puella v\u00f4ne \u00b7 Kvety Garomi \u00b7 \u010dLOVE\u010dina hra \u00b7 Rak\u00faske kult\u00farne f\u00f3rum \u00b7 TESCO Store SK \u00b7 CPK Transport \u00b7 Taba\u010dka Kulturfabrik \u00b7 King Media \u00b7 V\u00fdchodoslovensk\u00e9 m\u00fazeum v Ko\u0161iciach \u00b7 Letn\u00ed filmov\u00e1 \u0161kola \u00b7 KPK Reklama \u00b7 MIHYRING \u00b7 Zoberma taxi \u00b7 Hair Factory Ko\u0161ice \u00b7 Ve\u013evyslanectv\u00ed \u010cesk\u00e9 republiky v Bratislav\u011b<\/span><\/p>\n<p><b>Gastronomy Partners: <\/b><span style=\"font-weight: 400;\">Pub u Koh\u00fata \u00b7 El Nacional \u00b7 OhniskO Fire Dining &amp; Brew Bar \u00b7 Maiko Sushi \u00b7 Macarons Ko\u0161ice \u00b7 \u0161um vin\u00e1re\u0148 \u00b7 Caf\u00e9 de Paris \u00b7 Casa Trade \u2013 Casablanca cafe \u00b7 TATRATEA \u00b7 Moritz Eis<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Martin \u0160trba, one of Slovakia\u2019s most prominent contemporary cinematographers, will receive the Golden Camera award","protected":false},"author":8,"featured_media":43530,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[17,24],"tags":[175],"class_list":["post-46324","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","category-people","tag-aff-2025-en"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v27.2 (Yoast SEO v27.4) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>Thirty Years of the Legendary Film The Garden (1995): Director Martin \u0160ul\u00edk and Screenwriter Marek Le\u0161\u010d\u00e1k on the Film\u2019s Creation, Collaboration, and the Younger Generation &#8226; IFF ART FILM<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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