Umelé a umelecké v post-antropocentrickej trilógii Viery Čákanyovej
Artificial and artistic in the Post-anthropocentric Triology of Viera Čákanyová

Summary/Abstract: This study deals with three films of one of the most talented and, even in the European context, most interesting contemporary Slovak female directors and screenwriters, Viery Čákanyová (1980), which their creator herself regards as parts of a loose trilogy. These are her feature-length professional debut, FREM (2019), and two other films, Biela na bielej [White on White] (2020) and Poznámky z Eremocénu [Notes from Eremocene] (2022). They combine interlinked topics with a strong international overlap, which is quite unusual in Slovak films: the topic of artificial intelligence, climate change, the threat to human experience, or even the extinction of mankind. The aim of the study is to analyze the pictorial and strategies of Čákanyová’s trilogy while acoustic examining the essence of art, human experience, and life, which Čákanyová perceives in the situation of global climate change as threatened, or as ones in transition into the domain of artificial intelligence, which is becoming increasingly independent. The text is structured chronologically, using the available interviews with the director and other sources which commented on her hybrid, hard-to-grasp, and intentionally dubious films. It also serves as a guide to make sense of Čákanyová’s works, while relying also on the knowledge of her previous, internationally acclaimed student works, and television productions.

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