EN
The paper examines heterotopias in three distinct Slovak films as symptoms of disenfranchisement on the part of the film-makers during the transformative period in Slovak cinema. The first part analyses idyllic and heterotopic qualities of space in Martin Šulík’s Záhrada [The Garden, 1995], while the following parts examine heterotopic spaces in debuts by Štefan Semjan Na krásnom modrom Dunaji [On the Beautiful Blue Danube, 1994] and Miroslav Šindelka Vášnivý bozk [Passionate Kiss, 1994]. The paper shows how heterotopic qualities of spaces in these films correspond with self-transformation of the main characters and how the very processes of self-transformation can serve as commentaries on current situation within Slovak film industry.