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Mističnim filmskim iskustvom nazvao je Oscarom nagrađeni redatelj "Parazita" Joon-ho Bong novi film Michelangela Frammartina "Rupa" ("Il Buco"). Bongov citat ponosno krasi plakat "Rupe", uz podsjetnik da je film osvojio posebnu nagradu žirija na prošlogodišnjem Venecijanskom festivalu.

To je više nego dovoljno da se "Il Buco" prometne u jedan od najočekivanijih i najzvučnijih filmova s ovoggodišnjeg 15. Subversive festivala. Na koncu, "Rupa" je tek drugi dugometražni igrani film cijenjenog talijanskog filmaša nakon sjajna "Četiri lica" iz 2010. godine, odnosno treći uopće (prvijenac "Il Dono", 2003.).

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FILM: Il Buco; drama; Italija, 2021. REŽIJA: Michelangelo Frammartino OCJENA: **** ½

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Frammartino snima polako, mic po mic, kako i priliči jednom od najpostojanijih predstavniku novomilenijske "slow cinema" kinematografije. Jedanaest godina je trebalo proći od "Le quattro volte" do "Il Buco", ali golema vremenska rupa pogoduje Frammartinovu "comebacku" i njegov novi film danas, sada i ovdje, djeluje još subverzivnije u odnosu na prethodni.

U proteklom desetljeću svijet je postao ubrzaniji nego ikad prije, a to se reflektiralo na kinematografiju, s filmovima sve brže i brže izmjene kadrova. Meditativan ritam "Rupe" subvertira užurbanost modernog svijeta i kinematografije, vraćajući ih na "izvorište" i usporavajući (filmsko) vrijeme.

Inspiraciju za film, još jedan njegov hibrid igranog i dokumentarnog, Frammartino je pronašao u istinitoj speleološkoj priči s početka šezdesetih, kad je, u vrijeme ekonomskog "booma", skupina mladih talijanskih speleologa istraživala špilju u zabačenoj kalabreškoj dolini koja se pokazala trećom najdubljom na svijetu, dubine blizu 700 metara.

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Priču o speleolozima i njihovoj ekspediciji Frammartino paralelizira s životom lokalnih ljudi, s naglaskom na jednog vremešnog pastira (Nicola Lanza), što mu je povod za sudar dvaju različitih svjetova, novog i starog, urbanog i ruralnog, užurbanog i sporog, tame i svjetla.

Već krater nasred zemlje (rupa špilje) djeluje kao nekakvo strano tijelo u dolini, koliko god "prirodna" bila, a speleolozi su "uljezi". Kad kamera Frammartinova direktora fotografije Renata Berte snimi njihov kamion iz totala s uzvisine poviše doline, vozilo djeluje kao neka divovska izvanzemaljska/robotska krava u odnosu na stoku koja pokraj njega pase travu ili barem tako može djelovati u očima pastira.

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Dolazak speleologa, kao utjelovitelja moderne tehnologije i globalizacije, remeti spokojnu svakodnevicu pastira, koliko god da oni svoj istraživački posao obavljaju takoreći bez riječi, samo uz povike kojima je sklon i on, samo drukčije intonacije.

Povici su jedina vrsta "komunikacije" u filmu "Il Buco" i riječi pronalazimo samo u reklamama na televiziji, primjerice za najveću zgradu u Europi (Pirellijev toranj u Milanu) koja se gradi na drugom kraju Italije – sjeveru – istovremeno sa silaskom speleologa ispod zemlje (od nebodera do špilje, još jedan sudar suprotnosti). Prednjače prirodni zvukovi, speleološke opreme, zvona na kravama...

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No, riječi nisu ni potrebne, slika sve govori zahvaljujući slikovitim kadrovima i akterima filma. Dovoljno je zagledati se u pastira; svaka bora na njegovom licu šutke priča neku svoju priču. Dovoljno je vidjeti kako lokalci gledaju crno-bijelu televiziju na uličici među kućama kao da je posrijedi ljetno kino. I dovoljno je zaroniti sa speleolozima u ništavilo špilje i putovati sve dublje u središte Zemlje dok s vremenom ne dosegnu dno, što se simbolički isprepleće sa smrti pastira.

Razlika između krajobraza na površini zemlje i ispod nje je drastična, od suncem pomilovane prostrane doline, do mračne, skučene špilje, osvjetljene tek sjajem čeone lampe na kacigama speleologa ili zapaljeni listovi časopisa "Epoca" koje oni bacaju u bezdan ispod sebe da vide dokle seže njegova crnoća, a možda i da provjere čekaju li ih dolje neki monstrumi kao u hororu "The Descent".

JFK i Nixon na naslovnici časopisa, te Sophia Loren na jednoj od stranica, uokviruju vremenski period metafizičkog Frammartinovog filma i vrijeme kao takvo. "Rupa" je film o vremenu i njegovu neumitnom prolasku, početku i kraju nečega, uključujući spokojan način života i život sam.

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Od Locarna do Cannesa

"Il Dono" je imao svjetsku premijeru u Locarnu, a "Le Quattro volte" je prikazan u Cannesu

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Mističnim filmskim iskustvom nazvao je Oscarom nagrađeni redatelj "Parazita" Joon-ho Bong novi film Michelangela Frammartina "Rupa" ("Il Buco"). Bongov citat ponosno krasi plakat "Rupe", uz podsjetnik da je film osvojio posebnu nagradu žirija na prošlogodišnjem Venecijanskom festivalu.

To je više nego dovoljno da se "Il Buco" prometne u jedan od najočekivanijih i najzvučnijih filmova s ovoggodišnjeg 15. Subversive festivala. Na koncu, "Rupa" je tek drugi dugometražni igrani film cijenjenog talijanskog filmaša nakon sjajna "Četiri lica" iz 2010. godine, odnosno treći uopće (prvijenac "Il Dono", 2003.).

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FILM: Il Buco; drama; Italija, 2021. REŽIJA: Michelangelo Frammartino OCJENA: **** ½

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Frammartino snima polako, mic po mic, kako i priliči jednom od najpostojanijih predstavniku novomilenijske "slow cinema" kinematografije. Jedanaest godina je trebalo proći od "Le quattro volte" do "Il Buco", ali golema vremenska rupa pogoduje Frammartinovu "comebacku" i njegov novi film danas, sada i ovdje, djeluje još subverzivnije u odnosu na prethodni.

U proteklom desetljeću svijet je postao ubrzaniji nego ikad prije, a to se reflektiralo na kinematografiju, s filmovima sve brže i brže izmjene kadrova. Meditativan ritam "Rupe" subvertira užurbanost modernog svijeta i kinematografije, vraćajući ih na "izvorište" i usporavajući (filmsko) vrijeme.

Inspiraciju za film, još jedan njegov hibrid igranog i dokumentarnog, Frammartino je pronašao u istinitoj speleološkoj priči s početka šezdesetih, kad je, u vrijeme ekonomskog "booma", skupina mladih talijanskih speleologa istraživala špilju u zabačenoj kalabreškoj dolini koja se pokazala trećom najdubljom na svijetu, dubine blizu 700 metara.

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Priču o speleolozima i njihovoj ekspediciji Frammartino paralelizira s životom lokalnih ljudi, s naglaskom na jednog vremešnog pastira (Nicola Lanza), što mu je povod za sudar dvaju različitih svjetova, novog i starog, urbanog i ruralnog, užurbanog i sporog, tame i svjetla.

Već krater nasred zemlje (rupa špilje) djeluje kao nekakvo strano tijelo u dolini, koliko god "prirodna" bila, a speleolozi su "uljezi". Kad kamera Frammartinova direktora fotografije Renata Berte snimi njihov kamion iz totala s uzvisine poviše doline, vozilo djeluje kao neka divovska izvanzemaljska/robotska krava u odnosu na stoku koja pokraj njega pase travu ili barem tako može djelovati u očima pastira.

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Dolazak speleologa, kao utjelovitelja moderne tehnologije i globalizacije, remeti spokojnu svakodnevicu pastira, koliko god da oni svoj istraživački posao obavljaju takoreći bez riječi, samo uz povike kojima je sklon i on, samo drukčije intonacije.

Povici su jedina vrsta "komunikacije" u filmu "Il Buco" i riječi pronalazimo samo u reklamama na televiziji, primjerice za najveću zgradu u Europi (Pirellijev toranj u Milanu) koja se gradi na drugom kraju Italije – sjeveru – istovremeno sa silaskom speleologa ispod zemlje (od nebodera do špilje, još jedan sudar suprotnosti). Prednjače prirodni zvukovi, speleološke opreme, zvona na kravama...

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No, riječi nisu ni potrebne, slika sve govori zahvaljujući slikovitim kadrovima i akterima filma. Dovoljno je zagledati se u pastira; svaka bora na njegovom licu šutke priča neku svoju priču. Dovoljno je vidjeti kako lokalci gledaju crno-bijelu televiziju na uličici među kućama kao da je posrijedi ljetno kino. I dovoljno je zaroniti sa speleolozima u ništavilo špilje i putovati sve dublje u središte Zemlje dok s vremenom ne dosegnu dno, što se simbolički isprepleće sa smrti pastira.

Razlika između krajobraza na površini zemlje i ispod nje je drastična, od suncem pomilovane prostrane doline, do mračne, skučene špilje, osvjetljene tek sjajem čeone lampe na kacigama speleologa ili zapaljeni listovi časopisa "Epoca" koje oni bacaju u bezdan ispod sebe da vide dokle seže njegova crnoća, a možda i da provjere čekaju li ih dolje neki monstrumi kao u hororu "The Descent".

JFK i Nixon na naslovnici časopisa, te Sophia Loren na jednoj od stranica, uokviruju vremenski period metafizičkog Frammartinovog filma i vrijeme kao takvo. "Rupa" je film o vremenu i njegovu neumitnom prolasku, početku i kraju nečega, uključujući spokojan način života i život sam.

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Od Locarna do Cannesa

"Il Dono" je imao svjetsku premijeru u Locarnu, a "Le Quattro volte" je prikazan u Cannesu

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StoryEditorOCM
Film & TVCINEMARK NA FESTIVALU

‘Rupa‘: Mistika i metafizika iz kalabreške doline

Piše Marko Njegić
20. svibnja 2022. - 16:35
22045732
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Mističnim filmskim iskustvom nazvao je Oscarom nagrađeni redatelj "Parazita" Joon-ho Bong novi film Michelangela Frammartina "Rupa" ("Il Buco"). Bongov citat ponosno krasi plakat "Rupe", uz podsjetnik da je film osvojio posebnu nagradu žirija na prošlogodišnjem Venecijanskom festivalu.

To je više nego dovoljno da se "Il Buco" prometne u jedan od najočekivanijih i najzvučnijih filmova s ovoggodišnjeg 15. Subversive festivala. Na koncu, "Rupa" je tek drugi dugometražni igrani film cijenjenog talijanskog filmaša nakon sjajna "Četiri lica" iz 2010. godine, odnosno treći uopće (prvijenac "Il Dono", 2003.).

Frammartino snima polako, mic po mic, kako i priliči jednom od najpostojanijih predstavniku novomilenijske "slow cinema" kinematografije. Jedanaest godina je trebalo proći od "...

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