Whilst it has the underlying trappings of a traditional fairy tale, Orla is an explosion of genres and styles that takes in a heady brew of ideas – including environmentalism, feminism and abuse of power – as our protagonist Jasna must escape the tyranny of the ruler Volk.

An unapologetic riot of a film, Orla premiered at IFFR this year and screened at Prague Shorts, where it won the Audience Award. Another domestic screening awaits Czech filmmaker Marie Lukáčová, as audiences at Karlovy Vary get to see the film as part of EFP’s Future Frames. Cineuropa spoke to her to find out how the film is really intended for a young audience.

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Cineuropa: Where did the inspiration for Orla come from?
Marie Lukáčová: I want my children to be able to watch a fairy tale that speaks their language. One that does not underestimate them and is able to expand their horizons. That is my main driving force.

My inspiration, as is the case for many other people, largely comes from my place of origin – a place with dense forests full of stories and legends, full of magic and unfinished sentences – Czech Silesia. And, of course, also full of injustice and oppression. So, that is more or less it.

I am also inspired by slavic fairy tales – both spoken and cinematic – but I am trying to update them so they don't have to die out or get buried under the wave of instant content that constantly floods us in an endless stream of monetised moving images.

This is very much a timeless piece of work. It’s an ancient fairy tale yet it’s also modern rap. It has the aesthetics of classic cinema yet also modern music videos. How liberating is it as an artist and filmmaker to be able to have all these genres at your disposal to create a story? Do you ever find yourself having to rein some of your ideas in?
I always feel there is no limit, but of course reality is very different. My limitations come from my own artistic practice. I can imagine anything I want, but I am very aware that things need to be properly executed and earned through work. At the same time, through years of my life, I have come to know my own limits, as well as the limits of my collaborators. So yes, I did have to restrain myself when making Orla, my first film. I had absolutely no idea how to construct a narrative or build a storyline. On the other hand, I did not have to restrain myself at all with the animation or music.

You won the Audience Award at Prague Shorts – are you surprised by how receptive audiences have been so far?
Yes, I did not expect it at all, and I was very happy about it. I am extremely grateful for the award and I truly value it. But the film is primarily intended for children and their perspective. When we held a children’s screening and then had to play the film three more times because the kids wanted to keep watching, I was moved to tears. I think no award will ever top that feeling. And of course, they also gave me some very honest notes on certain parts – but to be honest, it was the best possible feedback for the future.

I’d like to ask about filming the live action sequences on 16mm. What appeals to you about working in this format?
It was the wonderful Tomáš Kotas who shot those sections for us (including the handheld camera work). We had long discussions about the possibilities of a fairy-tale aesthetic. In Orla, four different cameras were used across twenty minutes of film, so we did not shoot only on 16mm. We used a digital camera, a 16mm camera, a VHS camera, and also a 3D software-based camera.

The retro vibe of 16mm references Czech fairy tales from the 1970s and 1980s. I feel there is a much greater depth and beauty in the image. I've grown very fond of the grain that the camera “painted” into the picture.

What projects are you developing at the moment?
Right now, we are working on the script for my debut feature film. It will be a coming-of-age horror-mystical love story set in a Czech village. I am really looking forward to starting production.