This series of works dealing with the problematics of moving image medium and family archive. What is beyond the notion of documentation of personal moments as the 'artifacts' in the collection. The central theme in the art of Jiří Žák, who since 2014 has focused on making video essays, is the concept of manipulation – in particular, the manipulation of information and thus of collective consciousness and memory. During this time, his focus has shifted from post-production work with archival film material towards autonomous fiction film. In his early work, Du Forma (in English - Second Person Singular, 2015), he works with fiction only in part – he explores the possibility of presenting a real image as well as the reasons not to take advantage of this possibility: “After all, no medium is a neutral channel for transmitting information. It determines what can and cannot be communicated. It is not just the movie camera that lies: Its internal processes are hidden and incomprehensible. It’s not just the cameraman holding the camera (thus guiding our gaze) who is lying. We who stand before him are lying as well. We perform our lives. When your father filmed you playing outdoors as a child, it wasn’t so much because of the moment itself, but because of the later function of that film as evidence of having experienced a happy family life.” In Žák's first video called I Have It All Here (2013), he worked with the form of short documentary to tell the story of his grandfather Vladimír Stuchlík. His grandfather obsessively documented the life of his family. The reproductive function of the camera itself becomes a means of presenting intimate relationships to the technology as a form of diary and remembering. Vladimír Stuchlík created the films and photographs to remind him of his existence and almost physically imprinted himself into the media he works with. The documentary shows the moment where the archive and life merge into one.