19/03/2024 - Pavel Soukup helms the sequel to the cyberbullying thriller #martyisdead, exploring the intricacies of the digitally saturated world from a female perspective

The episodic production landscape in the Czech Republic is currently witnessing a renaissance, propelled by some intense competition among local streaming platforms. A hallmark of this flourishing era is the notable involvement of the younger generations, who are behind a number of buzzy domestic titles. Among the standouts is the web series Five Years, created by Damián Vondrášek and Sára Zeithammerová, which tackles the critical issues of consent and rape. Lucia Kajánková has introduced TBH, a high-school dramedy, while Adam Sedlák (BANGER. [+see also:
film review
trailer
interview: Adam Sedlák
film profile]) has written and directed Adikts, a series about addictology students gaining superpowers through substance abuse. Yet the most successful of this batch of Czech small-screen series has been #martyisdead, a web thriller that delves into the dangers of one’s online existence and cyberbullying, which nabbed the International Emmy Award for Best Short-form Series, marking a historic moment for it as the first Czech Emmy winner (see the news). Building on this triumph, the sequel #annaismissing has been developed with #martyisdead director Pavel Soukup, continuing the exploration of online challenges, this time from a female perspective.

Fifteen-year-old student Nina (Alexandra Vostrejžová) finds a sexy photo of a young girl on her father’s phone amid an otherwise perfect family idyll. Her curiosity leads her to find out that the unknown girl is a provocative online influencer called Anna, who discusses relationships and sex. Nina, alongside her friend Robin (Magdalena Čečo), finds out that Anna (Viktorie Vítová) has not posted any new content in a while, her whereabouts are unknown and her mother remains nonplussed by her absence. Further digging uncovers leaked nudes, dick pics, a restraining order, the outing of sex predators and death threats – at the centre of which is Anna.

The screenplay, penned by Lucie Kryzová, with the story by Adam Sedlák, navigates the intricacies of the digitally saturated world and its ramifications in the real world as the protagonist embarks on a DIY investigation, unravelling a complex tapestry of connections, secrets, suspicions and criminal activities.

#annaismissing stands out as a dynamic, plot-driven, young-adult thriller. Its episodic framework regularly introduces twists, red herrings and cliffhangers, continuously reframing the narrative and sustaining the suspense of the whodunnit mystery right up to the climactic conclusion. Initially depicted as a teenager's foray into the digital abyss, replete with a broad array of vices and other issues including cyberbullying, revenge porn, sexual predation, online stalking and the impact of one's digital footprint, the story evolves into a procedural that also doubles as a family drama.

Soukup shares a generational approach with his contemporaries such as Kajánková, favouring modern, high-paced, clear direction. Similarly to TBH, the secondary-school backdrop shapes the essence of the series, with neither director yielding to self-censorship. Both shows demonstrate a readiness to challenge conventions and taboos. #annaismissing aims to edify young viewers and their parents about the trials and tribulations of the digital world without compromising on the integrity of the genre or storyline. Nor does it transform into a moralistic sermon, even as one of the side plots entails a Lolita-like riff. The intertwining storylines in the search for the missing Anna reveal the nuanced complexity of moral judgements, blurring the distinctions between victim and perpetrator. #annaismissing marries the rhythm of a fast-paced procedural, a style prevalent in the Czech episodic scene, with a flair designed to appeal to a younger audience. It simultaneously builds a bridge across generational divides, particularly through the father-daughter relationship of the protagonist that bookends the series, in a counterpoint to the more toxic mother-daughter relationship involving Anna.

#annaismissing was produced by Bionaut (Czech Republic) and Fameplay (Czech Republic), and co-produced by Raketa (Slovakia). SKOOP Media is handling the international rights.