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Grand Prix žirija ovogodišnjeg STFF-a za crno-bijeli gruzijski film "Bebia, à mon seul désir" nije preveliko iznenađenje. Prvijenac gruzijske režiserke i scenaristice s londonskom adresom Juje Dobrachkous jedan je od dva najisturenija filma u dugometražnoj konkurenciji (i uopće stranom programu) 26. STFF-a.

Potpisnik ovih redova bi osobno prije dao Grand Prix kosovskoj filmašici Noriki Sefi za "Tražeći Veneru", ali njezin film je dobio posebno priznanje ("honourable mention") žirija pa opet dobro. Puno toga vezuje "Bebia, à mon seul désir" i "Looking For Venera".

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FILM: Bebia, à mon seul désir; drama; Gruzija, 2021. REŽIJA: Juja Dobrachkous ULOGE: AnastasiA Davidson, Alexander Glurjidze OCJENA: ****

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Za početak, oba filma su prvijenci redateljica koje treba držati na oku i imaju specifičan način snimanja glumaca. Oba u prvom planu drže tinejdžersku protagonisticu i njezin odnos s obitelji u tradicionalnom i konzervativnom ruralnom kraju. I jedan i drugi su pristigli na Split Film Festival iz Rotterdama, gdje su se natjecali za tamošnju festivalsku nagradu Zlatni tigar.

K tome, posrijedi su i idealni predstavnici kinematografija u usponu na svjetskoj festivalskoj art sceni proteklih desetak godina – gruzijske i kosovske. Ilustracije radi, "Bebia" je drugi gruzijski film prikazan na Rotterdamskom festivalu 2021. uz "Beginning" koji je potpisala Déa Kulumbegashvili.

Također, ovo je i već drugi gruzijski film koji je od 2014. naovamo pobijedio na STFF-u nakon "Corn Island" Georgea Ovashvilija. STFF je najprije ispratio uzlet gruzijske kinematografije početkom prošle dekade ("Otok kukuruza" se naslonio na "U cvatu" i "Spojeve na slijepo" iz 2013.), a sada ga i potvrdio sa zagonetno naslovljenom "Bebiom".

Gruzijsko-francuski naslov "Bebia, à mon seul désir" ostao je izvoran i nepreveden na hrvatski, pa i engleski. "Bebia" na gruzijskom znači baka, a dodatak bi se doslovno preveo "s mojom jedinstvenom željom" ili, slobodnije, "mojoj jedinoj ljubavi".

Pogođeni je to pristup filmu koji je često neodređen, simboličan i ne prevodi doslovno misli i riječi redateljice i njezinih likova, ostavljajući dosta toga interpretaciji gledatelja koji gleda zavodljivu crno-bijelu fotografiju i sluša "melodičan" gruzijski jezik, zamalo i glazbenu temu Ennija Morriconea iz "Bilo jednom u Americi".

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U centru priče nalazi se 17-godišnja manekenka Ariadna (glumački debi stvarnog medela Anastasije Davidson). Ona se nevoljko vraća iz bijelog svijeta u rodno gruzijsko selo na sprovod bake znakovita imena Medea (Guliko Gurgenidze).

Otamo je, doznajemo iz flešbekova na djetinjstvo (tad je glumi Anushka Andronikashvili), pobjegla od života u sjeni dvije glasne, nervozne i, prema svemu sudeći, nesretne ili neispunjene žene, bake i majke (Ana Chiradze kao mlađa, Anastasia Chanturaia kao starija).

Kad se vrati, Ariadna će, kao najmlađi član obitelji, morati ispoštovati tradicionalni ritual gruzijskog naroda u vidu ujedinjenja tijela i duše pokojnice, tj. povezivanja mjesta njezine smrti s mjestom gdje će biti pokopana. S niti konca u ruci koji mora razvući od bolnice iz grada do groblja na selu, Ariadna odlazi pješke na 25 kilometara dugu odiseju zajedno s obiteljskim prijateljem (Alexander Glurjidze), dodijeljenim da joj pravi društvo, što joj nije po volji jer "zvuči kao srednji vijek".

"Zašto ja ovo radim? Pa 21. stoljeće je", govori Ariadna dok danju i noću korača kroz krasna i surova prostranstva gruzijske i vlastite prošlosti. E, sad, nije slučajno da se, od svih imena na svijetu, protagonistica filma zove baš kao ženski lik iz grčke mitologije, dakle kao Ariadna koja je heroju Tezeju pomogla da izađe iz Minotaurova labirinta kad mu je dala klupko vune i magični mač za borbu s monstromom.

Grčka mitologija je u jednom trenutku spomenuta u filmu ("Minotaur i to") u kojem je protagonistica istovremeno i Ariadna i Tezej. Tijekom putovanja Ariadna pokušava pronaći izlaz iz labirinta prošlosti vlastitog života još jedan i posljednji put, noseći konac kao simbol povezanosti s obitelji čije odmatanje simbolizira i konačno oslobađanje njezine, ne samo bakine duše.

Putovanje ima praznog scenarističkog hoda, ali redateljica nadoknađuje propuste u tekstu trenucima vizualne poezije. Impresionistička crno-bijela fotografija Veronicea Solovyeve je impresivna gotovo kao u nekom filmu Ingmara Bergmana ili Bele Tarra.

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STFF o redateljici

Redateljica, spisateljica i slikarica, živi i radi u Londonu. Rođena u Sovjetskoj Rusiji, diplomirala je na Akademiji likovnih umjetnosti u Moskvi. "Neprestano sam slikala i svi su bili sretni osim mene. Jaz između mojih ideja i postignuća bio je toliko velik da sam se fizički razboljela. U nadi da ću preći preko toga, počela sam pisati".

Juja je objavila dva beletristička djela, a njezine kratke priče ("Rubber Baby", 2011.; "Very Scary and a Bit Shameful", 2019.) pojavile su se u nekoliko antologija moderne ruske književnosti, kao i u brojnim časopisima. "Više volim pisati nego slikati, jer je nesrazmjer između namjere i rezultata značajno manji".

Jujine kratke priče su vrlo priznate u Rusiji, a neke su i prerađene u scenarije. Bebia je Jujin dugometražni redateljski prvijenac. "Konačno sam pronašla najbolji format koji mi pruža sponu između ideja i izvedbe: film".

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Grand Prix žirija ovogodišnjeg STFF-a za crno-bijeli gruzijski film "Bebia, à mon seul désir" nije preveliko iznenađenje. Prvijenac gruzijske režiserke i scenaristice s londonskom adresom Juje Dobrachkous jedan je od dva najisturenija filma u dugometražnoj konkurenciji (i uopće stranom programu) 26. STFF-a.

Potpisnik ovih redova bi osobno prije dao Grand Prix kosovskoj filmašici Noriki Sefi za "Tražeći Veneru", ali njezin film je dobio posebno priznanje ("honourable mention") žirija pa opet dobro. Puno toga vezuje "Bebia, à mon seul désir" i "Looking For Venera".

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FILM: Bebia, à mon seul désir; drama; Gruzija, 2021. REŽIJA: Juja Dobrachkous ULOGE: AnastasiA Davidson, Alexander Glurjidze OCJENA: ****

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Za početak, oba filma su prvijenci redateljica koje treba držati na oku i imaju specifičan način snimanja glumaca. Oba u prvom planu drže tinejdžersku protagonisticu i njezin odnos s obitelji u tradicionalnom i konzervativnom ruralnom kraju. I jedan i drugi su pristigli na Split Film Festival iz Rotterdama, gdje su se natjecali za tamošnju festivalsku nagradu Zlatni tigar.

K tome, posrijedi su i idealni predstavnici kinematografija u usponu na svjetskoj festivalskoj art sceni proteklih desetak godina – gruzijske i kosovske. Ilustracije radi, "Bebia" je drugi gruzijski film prikazan na Rotterdamskom festivalu 2021. uz "Beginning" koji je potpisala Déa Kulumbegashvili.

Također, ovo je i već drugi gruzijski film koji je od 2014. naovamo pobijedio na STFF-u nakon "Corn Island" Georgea Ovashvilija. STFF je najprije ispratio uzlet gruzijske kinematografije početkom prošle dekade ("Otok kukuruza" se naslonio na "U cvatu" i "Spojeve na slijepo" iz 2013.), a sada ga i potvrdio sa zagonetno naslovljenom "Bebiom".

Gruzijsko-francuski naslov "Bebia, à mon seul désir" ostao je izvoran i nepreveden na hrvatski, pa i engleski. "Bebia" na gruzijskom znači baka, a dodatak bi se doslovno preveo "s mojom jedinstvenom željom" ili, slobodnije, "mojoj jedinoj ljubavi".

Pogođeni je to pristup filmu koji je često neodređen, simboličan i ne prevodi doslovno misli i riječi redateljice i njezinih likova, ostavljajući dosta toga interpretaciji gledatelja koji gleda zavodljivu crno-bijelu fotografiju i sluša "melodičan" gruzijski jezik, zamalo i glazbenu temu Ennija Morriconea iz "Bilo jednom u Americi".

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U centru priče nalazi se 17-godišnja manekenka Ariadna (glumački debi stvarnog medela Anastasije Davidson). Ona se nevoljko vraća iz bijelog svijeta u rodno gruzijsko selo na sprovod bake znakovita imena Medea (Guliko Gurgenidze).

Otamo je, doznajemo iz flešbekova na djetinjstvo (tad je glumi Anushka Andronikashvili), pobjegla od života u sjeni dvije glasne, nervozne i, prema svemu sudeći, nesretne ili neispunjene žene, bake i majke (Ana Chiradze kao mlađa, Anastasia Chanturaia kao starija).

Kad se vrati, Ariadna će, kao najmlađi član obitelji, morati ispoštovati tradicionalni ritual gruzijskog naroda u vidu ujedinjenja tijela i duše pokojnice, tj. povezivanja mjesta njezine smrti s mjestom gdje će biti pokopana. S niti konca u ruci koji mora razvući od bolnice iz grada do groblja na selu, Ariadna odlazi pješke na 25 kilometara dugu odiseju zajedno s obiteljskim prijateljem (Alexander Glurjidze), dodijeljenim da joj pravi društvo, što joj nije po volji jer "zvuči kao srednji vijek".

"Zašto ja ovo radim? Pa 21. stoljeće je", govori Ariadna dok danju i noću korača kroz krasna i surova prostranstva gruzijske i vlastite prošlosti. E, sad, nije slučajno da se, od svih imena na svijetu, protagonistica filma zove baš kao ženski lik iz grčke mitologije, dakle kao Ariadna koja je heroju Tezeju pomogla da izađe iz Minotaurova labirinta kad mu je dala klupko vune i magični mač za borbu s monstromom.

Grčka mitologija je u jednom trenutku spomenuta u filmu ("Minotaur i to") u kojem je protagonistica istovremeno i Ariadna i Tezej. Tijekom putovanja Ariadna pokušava pronaći izlaz iz labirinta prošlosti vlastitog života još jedan i posljednji put, noseći konac kao simbol povezanosti s obitelji čije odmatanje simbolizira i konačno oslobađanje njezine, ne samo bakine duše.

Putovanje ima praznog scenarističkog hoda, ali redateljica nadoknađuje propuste u tekstu trenucima vizualne poezije. Impresionistička crno-bijela fotografija Veronicea Solovyeve je impresivna gotovo kao u nekom filmu Ingmara Bergmana ili Bele Tarra.

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STFF o redateljici

Redateljica, spisateljica i slikarica, živi i radi u Londonu. Rođena u Sovjetskoj Rusiji, diplomirala je na Akademiji likovnih umjetnosti u Moskvi. "Neprestano sam slikala i svi su bili sretni osim mene. Jaz između mojih ideja i postignuća bio je toliko velik da sam se fizički razboljela. U nadi da ću preći preko toga, počela sam pisati".

Juja je objavila dva beletristička djela, a njezine kratke priče ("Rubber Baby", 2011.; "Very Scary and a Bit Shameful", 2019.) pojavile su se u nekoliko antologija moderne ruske književnosti, kao i u brojnim časopisima. "Više volim pisati nego slikati, jer je nesrazmjer između namjere i rezultata značajno manji".

Jujine kratke priče su vrlo priznate u Rusiji, a neke su i prerađene u scenarije. Bebia je Jujin dugometražni redateljski prvijenac. "Konačno sam pronašla najbolji format koji mi pruža sponu između ideja i izvedbe: film".

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StoryEditorOCM
Film & TVCINEMARK NA FESTIVALU

‘Bebia, à mon seul désir‘: Gruzija iz grčke mitologije

27. rujna 2021. - 22:09

Grand Prix žirija ovogodišnjeg STFF-a za crno-bijeli gruzijski film "Bebia, à mon seul désir" nije preveliko iznenađenje. Prvijenac gruzijske režiserke i scenaristice s londonskom adresom Juje Dobrachkous jedan je od dva najisturenija filma u dugometražnoj konkurenciji (i uopće stranom programu) 26. STFF-a.

Potpisnik ovih redova bi osobno prije dao Grand Prix kosovskoj filmašici Noriki Sefi za "Tražeći Veneru", ali njezin film je dobio posebno priznanje ("honourable mention") žirija pa opet dobro. Puno toga vezuje "Bebia, à mon seul désir" i "Looking For Venera".

Za početak, oba filma su prvijenci redateljica koje treba držati na oku i imaju specifičan način snimanja glumaca. Oba u prvom planu drže tinejdžersku protagonisticu i njezin odnos s obitelji u tradicionalnom i konz...

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13. svibanj 2024 05:35