Egon Bondy prophesies an inferno of global capitalism, Jim Čert admits to collaborating with the secret police, Jaroslav Foglar can’t find a bottle-opener for his beer, while Ivan Diviš makes observations about his own funeral. Director Jiří Krejčík can’t make movies and has a go at Vachek in front of the camera instead. Vachek’s extensive film essay, examining the state and hidden mycelium of Czech scholarship, develops into a strange natural metaphor. The woodlands of Czech thought are interwoven, sustained and influenced by unseen threadlike hyphae, thanks to which even those that seemed withered and destroyed rise from the dead once more.
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