The Czechoslovak New Wave (also Czech/Slovak New Wave) is a term used for the Czechoslovak filmmakers who started making films in the 1960s. The directors commonly included are Miloà ¡ Forman, VÃÂra Chytilová, Jan à  vankmajer, Ivan Passer, Pavel JuráÃÂek, Jià ÂàMenzel, Jan NÃÂmec, Jaromil Jireà ¡, Evald Schorm, Hynek BoÃÂan, Juraj Herz, Juraj Jakubisko, à  tefan Uher, Frantià ¡ek VláÃÂil and others. The movement was sometimes called the "Czechoslovak film miracle".
The films touched on themes which earlier filmmakers in communist countries had rarely managed to depict while avoiding the objections of censors, such as the misguided youths of Czechoslovak society portrayed in Miloà ¡ Forman's Black Peter (1963) and Loves of a Blonde (1965), or those caught in a surrealistic whirlwind in VÃÂra Chytilová's Daisies (1966) and Jaromil Jireà ¡' Valerie and Her Week of Wonders (1970). The films often expressed dark and absurd humour in opposition to the socialist realist films of the 1950s.
The Czechoslovak New Wave differed from the French New Wave in that it usually held stronger narratives, and as these directors were part of a nationalized film industry, they had greater access to studios and state funding. They also made more adaptations, including Jaromil Jireà ¡'s adaptation of Milan Kundera's novel The Joke (1969). At the Fourth Congress of the Czechoslovak Writers Union in 1967, Milan Kundera described this wave of national cinema as an important part of the history of Czechoslovak literature. Forman's The Firemen's Ball (1967), another major film of the era, remains a cult film more than four decades after its release.
The majority of films shot during the New Wave were Czech-language as opposed to Slovak. Many directors came from the prestigious FAMU, located in Prague, while the state-run Barrandov Studios were located just on the outskirts of Prague. Some prominent Czech directors included Miloà ¡ Forman, who directed The Firemen's Ball, Black Peter, and Loves of a Blonde during this time, VÃÂra Chytilová who is best known for her film Daisies, and Jià ÂàMenzel, whose film Closely Watched Trains (Ostà Âe sledované vlaky 1966) won an Academy Award for Best Foreign Language Film in 1968.
The Shop on Main Street (1965) won the Academy Award for Best Foreign Language Film in 1966, although it is not considered part of the New Wave, because it was directed by Ján Kadár and Elmar Klos, who were a generation older, and the film is fairly traditional. Juraj Herz, Juraj Jakubisko, à  tefan Uher and Duà ¡an Hanák were Slovak filmmakers who were part of the New Wave.