[13] Chytilová's dedication to her artistic vision manifested early in her studies, with her graduation film's screenplay, Strop/Ceiling, being rejected by her professor for its kitschy nature.

Chytilová states that she structured Daisies to "restrict [the spectator's] feeling of involvement and lead him to an understanding of the underlying idea or philosophy".

After the Czechoslovakian liberalization of 1968 led by Alexander Dubcek, widespread reforms decentralized the government and lessened restrictions on the press, granting artists like Chytilová creative freedoms they previously did not possess.

It was in this climate that Chytilová would begin working on her next film, Ovoce stromů rajských jíme (Fruit of Paradise; 1969), an experimental and psychedelic retelling of the story of Creationism, from an avant-garde, liberal perspective.

After months of tense negotiation, the Soviet Union responded to the reformations by invading the CSR with the armies of the other Warsaw Pact nations and swiftly taking control of their government.

The removal of Dubcek marks the end of the Czech New Wave, as the Soviet Union not only rolled back the social reforms, but imposed even harsher restrictions on the press and centralized the government as a part of the U.S.S.R. Chytilová and many others like her were forced to choose between filmmaking and their home country.

[12] With this pressure, Chytilová wrote a letter directly to President Gustáv Husák detailing her career and personal belief in socialism.

[18] Chytilová's "overheated" attitude made it difficult for her to gain work within the Soviet Union controlled film industry.

[12] Chytilová embodied a unique cinematographic language and style that does not rely on any literary or verbal conventions, but rather utilizes various forms of visual manipulations to create meaning within her films.

[19] Chytilová used observations of everyday life in accordance with allegories and surreal contexts to create a personalized film style that is greatly influenced by the French New Wave, and Italian neorealism.

[11] Chytilová actively used a filmic style similar to cinéma vérité in order to allow the audience to gain an outside perspective of the film.

[13] Her use of cinéma vérité is best illustrated in her 1966 film, Daisies, in which these techniques create a "philosophical documentary, of diverting the spectator from the involvement, destroying psychology and accentuates the humor".

[20] Josef Škvorecký states that, "In a true feminist tradition Vera combined intensive intellectual effort with a feminine feeling for beauty and form".