Slovak documentarian and editor Marek Šulík (Heavy Hearth) provides an inside view of the presidency of Slovak lawyer and anti-corruption activist Zuzana Čaputová, who became the country’s first female head of state, in his latest feature documentary Ms. President. Šulík’s film follows Čaputová from her euphoric election victory through the complexities of her tenure, concluding as she faces a new government composed of politicians who gained support by openly criticising her. A figure of liberal reform in a divided nation, Čaputová has navigated a politically volatile landscape marked by populist adversaries, widespread social disillusionment, and urgent global issues. Her presidency has seen extraordinary challenges, including five prime ministers, four government transitions, and the rise of right-wing populism. These pressures have been compounded by the COVID-19 pandemic, Russia’s invasion of Ukraine, an energy crisis, and surging inflation.
The time-lapse documentary is less a strict account of Čaputová’s tenure than a glimpse behind the scenes of presidential life, revealing her perspectives on key issues and the thought process guiding her decisions, such as in cases involving amnesties. Šulík’s approach, true to his style, captures dynamics at play in a political office. Known for his methodical craftsmanship and focus on socio-political themes, Šulík often probes the tensions between individual lives and broader historical forces. Ms. President portrays Čaputová facing an array of challenges under mounting pressure, exacerbated by unpublicised personal struggles and escalating attacks from political opponents and a radicalised public.
Čaputová’s historic role as Slovakia’s first female president, along with her responsibilities as a mother of two young daughters, forms a central theme in the film. The story opens with a startling disclosure: shortly before her inauguration, doctors discovered a tumour in her daughter’s brain. Personal hardships continue to intersect with her presidency as she manages the demands of her role, maintaining her position as one of the country’s most trusted figures. Šulík’s focus extends beyond Čaputová’s political life, capturing her personal transformation under the weight of public office. His documentary style is observational, avoiding sensationalism to authentically convey the rhythms and realities of political life.
Given the breadth of Čaputová’s eventful five-year tenure, both domestically and internationally, and with over 350 hours of footage, Šulík chooses to focus primarily on domestic events with exclusion of the presidential trip to war-torn Ukraine. Though the film follows a chronological structure, it selectively highlights key moments, resulting in a narrative that feels both diluted and fragmented. The film relies heavily on contextual references, assuming familiarity with Slovak political figures—those who instigated government crises and those who sought to exploit the ensuing instability. As Čaputová faces criticism from both sides, an understanding of these events and political relationships is essential to grasp her responses and decisions. For viewers unfamiliar with Slovakia’s political landscape, the chosen scenes may seem disjointed and fail to create a sense of continuity or translate the weight of the situation.
Notably, the documentary only briefly touches on the extreme situations Čaputová encountered as a female president, including the pervasive misogyny and regular death threats directed at her and her children. This gendered aspect adds a universal dimension to her story, reflecting the broader challenges of balancing motherhood and high public office—a topic of increasing relevance globally. Šulík bookends the film with scenes involving her children, underscoring the personal costs of her role. On a more intimate level, the film reveals Čaputová’s Buddhist personal philosophy in maintaining composure and integrity despite multiplying attacks and rising political pressure throughout her hectic tenure. Yet the documentary presents her time as president as less contentious than it truly was, often sidestepping confrontational moments. This restrained depiction may reflect Čaputová’s say over the final cut.
Ms. President is produced by Hitchhiker Cinema (Slovakia) and co-produced by Aerofilms (Czech Republic), Radio and Television Slovakia, Czech Television, and filmotras (Slovakia).
Source: By Martin Kudláč for Cineuropa