07/07/2025 - Ondřej Provazník's feature is a gripping coming-of-age story that dives into a young choir singer's emotional turmoil with subtle force

In the early 1990s, 13-year-old Karolína (Kateřina Falbrová) is a promising girls' choir singer, who captures her choirmaster's attention (Juraj Loj), to the disdain of the rest of the members of the group, which include her sister (Maya Kintera). Broken Voices [+see also:
trailer
interview: Ondřej Provazník
film profile], written and directed by Ondřej Provazník, and screening in the Crystal Globe Competition at Karlovy Vary, closely traces Karolína’s emotional journey as her initial sense of flattery gradually shifts into shame and guilt. Her feelings intensify over time, fuelled both by external pressures and her own internal conflict. The film has links with the real story of the Bambini di Praga, a Czech children's choir mostly made of girls and involved in sexual abuse scandals.

With remarkable delicacy, Broken Voices explores the inner landscape of its two central protagonists, employing close-ups and an intentionally measured pacing to draw the viewer into their inner worlds. The acting is understated yet deeply expressive, subtly conveying an unease that gradually intensifies over time. Although the film features a number of supporting characters, it often feels as though the narrative orbits solely around the two leads, yet this has to be seen as a positive feature and a testament to the director’s remarkable skill in crafting an intimate microcosm within a much broader setting. The omnipresent choir, which echoes the themes of collectivity and isolation simultaneously, is depicted as the perfect environment for this narrative choice.

In fact, the strength of the film lies not only in its performances and visual storytelling but also in the director’s ability to blur the lines between the personal and the public in the way the young protagonist faces what happens to her. Still, the film's pacing could have been more precisely calibrated. The deliberate build-up, while atmospherically rich, occasionally risks losing its grip, particularly in the first half, which feels comparatively less cohesive and emotionally resonant than the second. This latter section of the film unfolds with lyrical grace and near-flawless direction and editing, creating an effect of rising tension. 

Whether this imbalance was an intentional artistic decision remains open to interpretation, however a more harmonised progression might have elevated the film even further. On the other hand, Provazník’s film is a strong example of how transforming a potential flaw into a strength, at least in the eyes of some of the spectators, is possible. Entering the girls’ choir’s world is facilitated by the repetition of actions and discussions, as well as the intense focus on the singing, which sometimes feels poignantly redundant, building up to a sense of unease as the film unravels.

In the end, Broken Voices emerges as a deeply affecting and thoughtfully composed film. It culminates in a conclusion that, while somewhat predictable, is rendered with extraordinary tenderness and restraint, leaving a lasting impression through its quiet power and emotional authenticity.

Broken Voices is a Czech production by Endorfilm, in co-production with Punkchart Films, Česká Televize, Innogy, and Barrandov Studio. Sales are handled by Salaud Morisset.