One of the pleasures of watching Jaromil Jireš’s gleefully gothic and priapic 1970 film Valerie and Her Week of Wonders now is seeing it through a bifocal lens: as the lyrical product of filmmakers who dodged certain limits on their freedom of expression, and as a semi-obscure cult film appreciated more wryly in the West.

Source: Through the Regime’s Looking Glass by Jana Prikryl | The New York Review of Books