In 1992, Olga Sommerová and Jan Špáta met a thief named Máňa in the yard of the Pardubice prison. After ten years Olga Sommerová revisited the story of the protagonist and followed it closely thereafter. The film follows Máňa’s repeated prison stays and releases, her court trials, visits to places of her childhood, meetings with her mother, contact with institutions, instances of joy and desire, and moments of emotional collapse. Sommerová captures the cycle of incorrigibility, hope and love, in which Máňa displays the extremes of her personality, from laughter to tears, and points of intriguing insight. Máňa Ten Years After aims at challenging the distinction between internal and external freedom. Sommerová works to achieve this through pursuing an unwavering realism and brings out a type of extremity not seen in her other works.
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