Karel Kachyňa and The Holocaust: More Than Films for Children examines three Holocaust-themed works, Golden Eels (Zlatí úhoři, 1979), Death of a Beautiful Deer (Smrt krásných srnců, 1986) and The Last Butterfly (Poslední motýl, 1991), by Czech filmmaker Karel Kachyňa during the normalisation period of the Czechoslovak communist era. This work seeks to challenge the critical reception of Kachyňa’s normalisation era (1970-1989) works, where a focus on his use of children’s narratives and crude humour during the period has had a diminishing effect. Engaging with legitimate concerns over Kachyňa’s ability to continue to work following the Warsaw Pact invasion of 1968 in Czechoslovakia when many of his New Wave contemporaries like Jiří Menzel and Věra Chytilová were banned and some like Miloš Forman felt compelled to emigrate, this work explores how Kachyňa’s Holocaust-themed works address the filmmaker’s attempts to produce a humanist poetics in the face of a dehumanising authoritarian regime, despite essentially working for the communist regime he was attempting to criticise. In generating analogies between the Nazi regime and his contemporaneous experience under communism, Kachyňa provides a powerfully subversive body of work which this article argues is deserving of greater attention in scholarship.