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Sami start STFF-a donosi film koji bi mogao (p)ostati najbolji do kraja 25. izdanja. To je "Atlantis" ukrajinskog redatelja i scenarista Valentyna Vasyanovycha, izvrstan film nagrađen na prošlogodišnjem Venecijanskom festivalu u sekciji "Horizonti". S "Atlantisom" se neće biti lako nositi ostatku STFF konkurencije.
Ovo je punokrvni festivalski art istočnoeuropske provenijencije u poetsko-realističko-egzistencijalističkom duhu Tarkovskog ("Stalker") i Loznitze ("Donbass"), potencijalni kandidat za "best of" listu 2020. i jedan od najboljih filmova sa STFF-a posljednjih pet-šest godina, ovako od oka tik iza francuskog "Divljaka" i "Videofilije", tj. uz "Dhogs" i "Vulkan".
---
FILM: Atlantis; drama; Ukrajina, 2019. REŽIJA: Valentyn Vasyanovych ULOGE: Andriy Rymaruk, Liudmyla Bileka OCJENA: **** ½
---
Vasyanovych je skrenuo pozornost na sebe kao direktor fotografije (i producent) festivalski najuspješnijeg ukrajinskog filma "Pleme" Miroslava Slaboshpytskog, priznatog u Cannesu. Režirao je tri zanimljiva cjelovečernjaka, ali tek je s četvrtim, "Atlantis", iskazao puni redateljski i scenaristički potencijal.
Scenaristička blisko-budućnosna postavka je efektna i provokativna, inspirirana redateljevim posjetom regiji Donbass na Istoku Ukrajine poznatoj po čestim sukobima ukrajinskih i ruskih (par)militarnih skupina i separatista. "Atlantis" se odvija u Istočnoj Ukrajini 2025., godinu dana nakon rata s Rusijom.
Ukrajina je, čini se, dobila rat, ali ratovanje je zemlju pretvorilo u ruševinu iz distopijskog, postapokaliptičnog žanrovskog filma, pustopoljinu nepogodnu za život koja ima svoju "Zonu" kao "Stalker" (opasni predio krcat minama). Naravno, "Atlantis" je festivalac ("Stalker"), ne žanrovac ("Predator"), ali slike iz žanrovskih filmova ostavile su utjecaj na Vassyanovycha.
Tako, termalna kamera obilježava vizualno impresivnu, hipnotičnu uvodnu sekvenciju (jedini izrazitiji pogled na rat Ukrajine i Rusije) kao da je gledamo kroz toplinski "infra" pogled Predatora. Pratimo nekog čovjeka kako kopa zemlju, prema svemu sudeći nečiji grob. Pojavljuju se još dva tipa, vukući trećeg po zemlji.
Jedan udarac nogom u trbuh, drugi u glavu. Nesretnik pada u rupu u zemlji, grob, gdje će biti izudaran kundakom automatske puške i zakopan. Toplina njegova tijela postupno nestaje s termalne kamere svakim idućim zamahom lopate i stapa se s hladim mrakom nakon kojeg slijedi "fade out" i "fade in" sa snježnobijelim totalom.
Da je Predator bio tu, umiješao bi se i kaznio naoružane muškarce, ali nije. Nema ni Aliena, premda Vassyanovych ubrzo orkestrira bacanje u lijevano olovo talionice kao u "Alienu 3". Skočio je Ivan (Vasyl Antoniak), radnik u talionici i bivši vojnik kojeg je iznutra, poput Aliena, izjedao PTSP, a izjeda i protagonista filma, njegovog autodestruktivnog kolegu Sergiya (Andriy Rymaruk).
Ivana i Sergiya pronalazimo u onom snježnobijelom totalu kako postavljaju metalne čovjekolike mete i pucaju, da bi na kraju napucali i jedan drugoga noseći pancirke. Rat je ostavio traga na njima (što potvrđuje Ivanov skok) i kao da ne znaju živjeti bez njega.
Kad talionica zatvori, a njezino zatvaranje "bigbrotherovski" najavljuje lice s golemog ekrana u sceni kao proizašloj iz Orwellove "1984", Sergiy ne zna gdje bi sa sobom. No, srećom, nailazi na skupinu dragovoljaca za ekshumaciju žrtava rata predvođenih Katyom (Liudmyla Bileka) s kojom će on pokušati povratiti ljudskost, nestalu poput nestale Atlantide ironično konotiranog naslova filma.
To je spori proces festivalski dugih, studenih, distantnih kadrova s minimalnim pokretima kamere i maksimalnom simetrijom u širokim totalima koji od gledatelja traži strpljenje, ali ih za to strpljenje i nagrađuje nizom nesvakidašnje upečatljivih ili začudnih prizora.
U jednoj sceni Sergiy improvizira toplu kupku u kamenjaru bogu iza nogu u kanti za utovar skinutoj s bagera. U drugoj kamera je pozicionirana u interijeru i gleda kroz prozor koji izgleda kao kinoplatno. Konačno, završnica filma je iznimno dojmljiva kao početak i daje inverziju uvodne scene. Termalna kamera sada ovjekovječuje ljubav, pronalazi toplinu u studeni i daje osjećaj nade u beznadnim vremenima.
---
Vikend na STFF-u: Sjećanje na Bekima Sejranovića
U subotu u 18.45 u "Kinoteci" STFF upriličuje "in memoriam" američkom eksperimentalnom filmašu Bruceu Baillieu i književniku Bekimu Serjanoviću koji je 2016. bio član žirija. Večernji termin (21 sat) u Ljetnom kinu "Bačvice" je, pak, rezerviran za "Atlantis". Nedjelja u "Kinoteci" donosi drugi dio Kratkometražne konkurencije (18.45), a u Ljetnom kinu "Bačvice" (21) na programu je dugometražni njemački SF dokumentarac "Hi, A.I." Isabelle Willinger na temu suživota čovjeka i umjetne inteligencije.
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Sami start STFF-a donosi film koji bi mogao (p)ostati najbolji do kraja 25. izdanja. To je "Atlantis" ukrajinskog redatelja i scenarista Valentyna Vasyanovycha, izvrstan film nagrađen na prošlogodišnjem Venecijanskom festivalu u sekciji "Horizonti". S "Atlantisom" se neće biti lako nositi ostatku STFF konkurencije.
Ovo je punokrvni festivalski art istočnoeuropske provenijencije u poetsko-realističko-egzistencijalističkom duhu Tarkovskog ("Stalker") i Loznitze ("Donbass"), potencijalni kandidat za "best of" listu 2020. i jedan od najboljih filmova sa STFF-a posljednjih pet-šest godina, ovako od oka tik iza francuskog "Divljaka" i "Videofilije", tj. uz "Dhogs" i "Vulkan".
---
FILM: Atlantis; drama; Ukrajina, 2019. REŽIJA: Valentyn Vasyanovych ULOGE: Andriy Rymaruk, Liudmyla Bileka OCJENA: **** ½
---
Vasyanovych je skrenuo pozornost na sebe kao direktor fotografije (i producent) festivalski najuspješnijeg ukrajinskog filma "Pleme" Miroslava Slaboshpytskog, priznatog u Cannesu. Režirao je tri zanimljiva cjelovečernjaka, ali tek je s četvrtim, "Atlantis", iskazao puni redateljski i scenaristički potencijal.
Scenaristička blisko-budućnosna postavka je efektna i provokativna, inspirirana redateljevim posjetom regiji Donbass na Istoku Ukrajine poznatoj po čestim sukobima ukrajinskih i ruskih (par)militarnih skupina i separatista. "Atlantis" se odvija u Istočnoj Ukrajini 2025., godinu dana nakon rata s Rusijom.
Ukrajina je, čini se, dobila rat, ali ratovanje je zemlju pretvorilo u ruševinu iz distopijskog, postapokaliptičnog žanrovskog filma, pustopoljinu nepogodnu za život koja ima svoju "Zonu" kao "Stalker" (opasni predio krcat minama). Naravno, "Atlantis" je festivalac ("Stalker"), ne žanrovac ("Predator"), ali slike iz žanrovskih filmova ostavile su utjecaj na Vassyanovycha.
Tako, termalna kamera obilježava vizualno impresivnu, hipnotičnu uvodnu sekvenciju (jedini izrazitiji pogled na rat Ukrajine i Rusije) kao da je gledamo kroz toplinski "infra" pogled Predatora. Pratimo nekog čovjeka kako kopa zemlju, prema svemu sudeći nečiji grob. Pojavljuju se još dva tipa, vukući trećeg po zemlji.
Jedan udarac nogom u trbuh, drugi u glavu. Nesretnik pada u rupu u zemlji, grob, gdje će biti izudaran kundakom automatske puške i zakopan. Toplina njegova tijela postupno nestaje s termalne kamere svakim idućim zamahom lopate i stapa se s hladim mrakom nakon kojeg slijedi "fade out" i "fade in" sa snježnobijelim totalom.
Da je Predator bio tu, umiješao bi se i kaznio naoružane muškarce, ali nije. Nema ni Aliena, premda Vassyanovych ubrzo orkestrira bacanje u lijevano olovo talionice kao u "Alienu 3". Skočio je Ivan (Vasyl Antoniak), radnik u talionici i bivši vojnik kojeg je iznutra, poput Aliena, izjedao PTSP, a izjeda i protagonista filma, njegovog autodestruktivnog kolegu Sergiya (Andriy Rymaruk).
Ivana i Sergiya pronalazimo u onom snježnobijelom totalu kako postavljaju metalne čovjekolike mete i pucaju, da bi na kraju napucali i jedan drugoga noseći pancirke. Rat je ostavio traga na njima (što potvrđuje Ivanov skok) i kao da ne znaju živjeti bez njega.
Kad talionica zatvori, a njezino zatvaranje "bigbrotherovski" najavljuje lice s golemog ekrana u sceni kao proizašloj iz Orwellove "1984", Sergiy ne zna gdje bi sa sobom. No, srećom, nailazi na skupinu dragovoljaca za ekshumaciju žrtava rata predvođenih Katyom (Liudmyla Bileka) s kojom će on pokušati povratiti ljudskost, nestalu poput nestale Atlantide ironično konotiranog naslova filma.
To je spori proces festivalski dugih, studenih, distantnih kadrova s minimalnim pokretima kamere i maksimalnom simetrijom u širokim totalima koji od gledatelja traži strpljenje, ali ih za to strpljenje i nagrađuje nizom nesvakidašnje upečatljivih ili začudnih prizora.
U jednoj sceni Sergiy improvizira toplu kupku u kamenjaru bogu iza nogu u kanti za utovar skinutoj s bagera. U drugoj kamera je pozicionirana u interijeru i gleda kroz prozor koji izgleda kao kinoplatno. Konačno, završnica filma je iznimno dojmljiva kao početak i daje inverziju uvodne scene. Termalna kamera sada ovjekovječuje ljubav, pronalazi toplinu u studeni i daje osjećaj nade u beznadnim vremenima.
---
Vikend na STFF-u: Sjećanje na Bekima Sejranovića
U subotu u 18.45 u "Kinoteci" STFF upriličuje "in memoriam" američkom eksperimentalnom filmašu Bruceu Baillieu i književniku Bekimu Serjanoviću koji je 2016. bio član žirija. Večernji termin (21 sat) u Ljetnom kinu "Bačvice" je, pak, rezerviran za "Atlantis". Nedjelja u "Kinoteci" donosi drugi dio Kratkometražne konkurencije (18.45), a u Ljetnom kinu "Bačvice" (21) na programu je dugometražni njemački SF dokumentarac "Hi, A.I." Isabelle Willinger na temu suživota čovjeka i umjetne inteligencije.
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[group] => 9
[published] => 1
[ordering] => 32
[alias] => gallery_in_the_article
)
[30] => stdClass Object
(
[id] => 95
[name] => Required views
[value] => 0
[type] => textfield
[group] => 9
[published] => 1
[ordering] => 33
[alias] => required_views
)
)
19. svibanj 2024 21:01
