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SERIES / CRÍTICAS República Checa

Crítica serie: Daughter of the Nation

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- La historia y la cultura pop se mezclan alrededor de la figura de Zdeňka Havlíčková, símbolo del Renacimiento Nacional Checo del siglo XIX

Crítica serie: Daughter of the Nation
Antonie Formanová (centro) y Daniel Kadlec (detrás) en Daughter of the Nation

Este artículo está disponible en inglés.

Canal+ has ventured into original production in the Czech Republic with the six-part period biopic miniseries Daughter of the Nation. A recent recipient of a Special Mention for set design at the Serial Killer festival (see the news), the series follows teenager Zdeňka Havlíčková (Antonie Formanová), the orphaned daughter of the prominent Czech nationalist Karel Havlíček Borovský, both actual historical personalities, who is selected to become a symbol of Czech identity during the 19th-century Czech National Revival — a time marked by efforts to forge a modern Czech identity amidst Austro-Hungarian rule. The six episodes are divided between two directors, each collaborating with their own cinematographer. The first three episodes, directed by Matěj Chlupáček and shot by Martin Douba, build on their previous work together on Chlupáček’s sophomore feature, We Have Never Been Modern [+lee también:
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entrevista: Matěj Chlupáček y Miro Šifra
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. Lucie Vaňková’s script draws inspiration from Milena Lenderová's book Dcera národa? Tři životy Zdeňky Havlíčkové (Daughter of the Nation? Three Lives of Zdeňka Havlíčková), maintaining the core biographical elements while taking some liberties mostly in condensing the plot into a tighter structure. 

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The rebellious Zdeňka is chosen by four Czech revivalists — Ladislav Rieger (Jiří Langmajer), Alois Trojan (Vladimír Javorský), František Brauner (Leoš Noha) and František Palacký (Jan Vlasák) — to embody the spirit of Czech culture and serve as a living emblem of national virtues. The revivalists’ plan, a marketing stunt akin to a Cinderella story, aims to transform Zdeňka into a national icon, guiding her towards the ideal of a Czech wife and mother while considering her posthumous legacy. However, their ambitions are complicated by Zdeňka’s strong-willed nature and her romantic involvement with a Polish soldier, Guido Battaglia (Daniel Kadlec), serving in the Austro-Hungarian army — a relationship that would be seen as a betrayal by her compatriots. Zdeňka’s youthful desires clash with the weight of national expectations. Chlupáček's approach results in an anachronistic young-adult rom-com, with a forbidden-love trope, making the history lesson more stylish for younger generations. 

The directorial baton then passes on to Cristina Grosan, who collaborates with Hungarian cinematographer Márk Győri, already her creative partner on the film Ordinary Failures [+lee también:
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entrevista: Cristina Grosan
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, which brings a tonal shift to the series and its plot. Chlupáček and Douba's cheeky approach to historic events and dynamic camera give way to a more melodramatic approach, with darker undertones and a more conventional mode of storytelling. The protagonist, now navigating the upper echelons of society, struggles for self-determination under the watchful eye of her manipulative guardian Brauner. Her romantic pursuits are thwarted, and her free-spirited nature clashes with societal expectations of the 19th century, particularly those shaped by rigid gender norms. Zdeňka’s attempts to reconnect with her Polish lover, her rejection of a naive suitor, and her arranged marriage to a farmer for the sake of her symbolic role all contribute to her inner conflict. As her health declines, the series shifts from its earlier lightheartedness to a more sombre portrayal, culminating in the protagonist’s tragic denouement.

Daughter of the Nation is a Czech take on the historical biopic, with pop culture sensibilities similar to the series Dickinson or The Great. The story remains truthful to historical facts but renders them in an anachronistic manner, with modern slang, techno music and other aspects of youth subcultures dressed in 19th-century garb. The introduction of new characters is accompanied by notes on their historical legacies, such as the number of streets or monuments named in their honour. The modern hyperbole of a period biopic that the initial episodes offer contrasts with the more melancholic tone and conventional storytelling of the latter half, as Zdeňka transitions from a toast of the town to a fallen idol and strives to reclaim her agency.

Daughter of the Nation was produced by Canal+, Barletta Production and Czech Television. The Czech Canal+ VoD platform has started releasing episodes, and the miniseries should next get released in Hungary, Romania, Belgium and the Netherlands. Czech Television is expected to air the miniseries in 2025.

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(Traducción del inglés)

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