Conspirators of Pleasure

Conspirators of Pleasure undermine the main statement we were trying to build up in such a complicated way in the previous summaries. Not only is it no summary of the already discovered and examined means of expression by way of variations on a classical theme. Even the established rate of animation and live action has changed. In Conspirators of Pleasure, live action becomes the main focus of the fi lm, while animated sequences retain only an accompanying, decorative function. But even that isn’t the most important aspect of this fi lm. The most important – in our point of view – are the tactile objects constructed by the characters in course of the fi lm. The interest in “tactile art” or tactility in general was the inspiration of Švankmajer’s surrealist work outreaching all categorization. We recommend not only the film, but also Švankmajer’s phenomenal publication Hmat a Imaginace (Touch and Imagination, Praha, Kozoroh, 1994). (Anifilm)