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Zdravstveni sustav koji puca, tj. pukao je po šavovima portretira dokumentarni film "Midnight Family" režisera, producenta, snimatelja i montažera Lukea Lorentzena. Prebačeno smo u Mexico City, glavni grad Meksika koji raspolaže sa samo 45 ambulantnih kola hitne pomoći na devet miljuna stanovnika.

To je jednako porazno i podsjeća na brojku iz dokumentarca "Sofia's Last Ambulance" Iliana Meteva. Podsjetimo se, Sofija je 2012. na rapolaganju imala 13 kola hitne pomoći na 1.5 milijuna stanovnika. "Posljednja ambulantna kola Sofije" dođu "Ponoćnoj obitelji" kao osam godina stariji dokumentarni brat, još jedno dijete Scorseseove drame "Između života i smrti", ali Lorentzen pronalazi drukčiji kut priče u odnosu na Meteva.

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FILM: Midnight Family; dokumentarac; Meksiko, 2019. REŽIJA: Luke Lorentzen  DISTRIBUCIJA: Restart OCJENA: **** ½

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Naime, "Sofia's Last Ambulance" je pratio intervencije službenog doktora, medicinske sestre i vozača ambulantnih kola, a "Midnight Family" se bavi članovima obitelji Ochoa koji izlaze na teren u neslužbenom, privatnom aranžmanu i odvoze unesrećene u klinike.

Familija Ochoa godišnje transportira stotine pacijenata, a s njima je redatelj proveo šest mjeseci. Otac Fernando i sin-tinejdžer Juan voze meksičkim velegradom u vlastitom kombiju i koriste svoju opremu za pružanje prve pomoći, operirajući u sivoj zoni (i)legalne regulacije zahvaljujući sistemskoj rupi.

Pitanje jesu li prošli formalni trening za bolničare i koliko je njihova oprema ispravna visi u zraku dokumentarca "Ponoćna obitelj" koji je možda fokusiran na jednu familiju, ali iscrtava širi kontekst Meksika kao mikrokozmosa cijeloga svijeta (katastrofalno stanje javnog zdravstva, korupcija, neimaština).

Zbog toga njih i njima slične privatne obiteljske ambulantne službe često zaustavlja policija, tražeći mito. Ipak, Fernando i Juan se ne daju smesti jer "ova kola nas hrane". Znade proći nekoliko intervencija da familija ne dobije ni pesosa, a optimalna je zarada 300 za svakog pacijenta prevezena u bolnicu.

Vidimo ih kako jedu jeftinu salatu od tune na benzinskoj crpki i važu koliko obroka ("tacosa") dnevno uopće mogu/smiju pojesti. Nisu rijetki trenuci i da ostaju bez goriva, a i bez tople vode kod kuće. Ispada da obitelj radi "pro bono" i svakako pokazuje dobru volju nalazeći se na raskrižju između ljudske emocije i poslovne kalkulacije (u koju bolnicu odvesti pacijente, u kojem trenutku pitati za novac) u gradu koji bi bio nered bez privatnih ambulanti.

Njihova briga za ljude je nepatvorena i pomažu čak i ako zauzvrat ne dobiju novac, premda to priželjkuju. "Kad bi mene netko spasio, platio bih mu bar nešto", govori Juan. Sa svojih 17 godina mladić razumije kako svijet funkcionira ("Da ljudi ne umiru, mrtvozornik ne bi imao što jesti"), ali zna da "ovo nije zezancija" jer "ne igramo se s Barbikama".

Juana privlači uzbuđenje ovog posla i ambiciozan je barem tu kad već nije u školi koju bi i njegov mlađi brat Josue rado preskočio pa se vozi s njima noćima. To "uzbuđenje" redatelj na mahove snima kao dokumentarni akcijski film s opipljivom opasnosti predočenom i putem neprimjetne kamere pozicionirane na kontrolnu ploču ambulantnih kola u oba smjera, prema van i prema unutra, kako bi se gledatelj postavio u vozilo zajedno s bolničarima.

"Ovdje skreni desno", žurno savjetuje suvozač vozaču i upozorava druge sudionike u prometu da se maknu s puta ukoliko ih usporavaju. Jurcanja na mjesto nesreće, utrkivanja s drugim ambulantnim kolima, pitanje života i smrti... Tako izgleda prosječna noć ove familije koja se nalazi u mogućoj pogibelji hitajući s jednog kraja grada na drugi poput lika Jakea Gyllenhaala u filmu "Noćne kronike", samo iz drukčijih, ljudskijih pobuda.

U pamćenju ostaje scena kad pretučena 18-godišnja djevojka traži zagrljaj i Fernando joj rado izađe u susret kako bi je utješio. Svega se Fernando i Juan mogu nagledati dok krstare Mexico Cityjem, od žrtava sudara s teškim tjelesnim ozljedama do nesretnice koja je pala s visine od četiri kata i nalazi se u kritičnom stanju. "Midnight Family" je egzistencijalni film o ljudima, društvu i gradu u sitne sate, dokumentarna inačica "Taxi Drivera" i "Nightcrawlera".

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Iz Sundancea u Hrvatsku

"Ponoćna obitelj" je imala premijeru na Sundance Film Festivalu, gdje je i osvojila jednu nagradu, a upravo se nalazi u distribuciji po nezavisnim hrvatskim kinima.

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Zdravstveni sustav koji puca, tj. pukao je po šavovima portretira dokumentarni film "Midnight Family" režisera, producenta, snimatelja i montažera Lukea Lorentzena. Prebačeno smo u Mexico City, glavni grad Meksika koji raspolaže sa samo 45 ambulantnih kola hitne pomoći na devet miljuna stanovnika.

To je jednako porazno i podsjeća na brojku iz dokumentarca "Sofia's Last Ambulance" Iliana Meteva. Podsjetimo se, Sofija je 2012. na rapolaganju imala 13 kola hitne pomoći na 1.5 milijuna stanovnika. "Posljednja ambulantna kola Sofije" dođu "Ponoćnoj obitelji" kao osam godina stariji dokumentarni brat, još jedno dijete Scorseseove drame "Između života i smrti", ali Lorentzen pronalazi drukčiji kut priče u odnosu na Meteva.

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FILM: Midnight Family; dokumentarac; Meksiko, 2019. REŽIJA: Luke Lorentzen  DISTRIBUCIJA: Restart OCJENA: **** ½

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Naime, "Sofia's Last Ambulance" je pratio intervencije službenog doktora, medicinske sestre i vozača ambulantnih kola, a "Midnight Family" se bavi članovima obitelji Ochoa koji izlaze na teren u neslužbenom, privatnom aranžmanu i odvoze unesrećene u klinike.

Familija Ochoa godišnje transportira stotine pacijenata, a s njima je redatelj proveo šest mjeseci. Otac Fernando i sin-tinejdžer Juan voze meksičkim velegradom u vlastitom kombiju i koriste svoju opremu za pružanje prve pomoći, operirajući u sivoj zoni (i)legalne regulacije zahvaljujući sistemskoj rupi.

Pitanje jesu li prošli formalni trening za bolničare i koliko je njihova oprema ispravna visi u zraku dokumentarca "Ponoćna obitelj" koji je možda fokusiran na jednu familiju, ali iscrtava širi kontekst Meksika kao mikrokozmosa cijeloga svijeta (katastrofalno stanje javnog zdravstva, korupcija, neimaština).

Zbog toga njih i njima slične privatne obiteljske ambulantne službe često zaustavlja policija, tražeći mito. Ipak, Fernando i Juan se ne daju smesti jer "ova kola nas hrane". Znade proći nekoliko intervencija da familija ne dobije ni pesosa, a optimalna je zarada 300 za svakog pacijenta prevezena u bolnicu.

Vidimo ih kako jedu jeftinu salatu od tune na benzinskoj crpki i važu koliko obroka ("tacosa") dnevno uopće mogu/smiju pojesti. Nisu rijetki trenuci i da ostaju bez goriva, a i bez tople vode kod kuće. Ispada da obitelj radi "pro bono" i svakako pokazuje dobru volju nalazeći se na raskrižju između ljudske emocije i poslovne kalkulacije (u koju bolnicu odvesti pacijente, u kojem trenutku pitati za novac) u gradu koji bi bio nered bez privatnih ambulanti.

Njihova briga za ljude je nepatvorena i pomažu čak i ako zauzvrat ne dobiju novac, premda to priželjkuju. "Kad bi mene netko spasio, platio bih mu bar nešto", govori Juan. Sa svojih 17 godina mladić razumije kako svijet funkcionira ("Da ljudi ne umiru, mrtvozornik ne bi imao što jesti"), ali zna da "ovo nije zezancija" jer "ne igramo se s Barbikama".

Juana privlači uzbuđenje ovog posla i ambiciozan je barem tu kad već nije u školi koju bi i njegov mlađi brat Josue rado preskočio pa se vozi s njima noćima. To "uzbuđenje" redatelj na mahove snima kao dokumentarni akcijski film s opipljivom opasnosti predočenom i putem neprimjetne kamere pozicionirane na kontrolnu ploču ambulantnih kola u oba smjera, prema van i prema unutra, kako bi se gledatelj postavio u vozilo zajedno s bolničarima.

"Ovdje skreni desno", žurno savjetuje suvozač vozaču i upozorava druge sudionike u prometu da se maknu s puta ukoliko ih usporavaju. Jurcanja na mjesto nesreće, utrkivanja s drugim ambulantnim kolima, pitanje života i smrti... Tako izgleda prosječna noć ove familije koja se nalazi u mogućoj pogibelji hitajući s jednog kraja grada na drugi poput lika Jakea Gyllenhaala u filmu "Noćne kronike", samo iz drukčijih, ljudskijih pobuda.

U pamćenju ostaje scena kad pretučena 18-godišnja djevojka traži zagrljaj i Fernando joj rado izađe u susret kako bi je utješio. Svega se Fernando i Juan mogu nagledati dok krstare Mexico Cityjem, od žrtava sudara s teškim tjelesnim ozljedama do nesretnice koja je pala s visine od četiri kata i nalazi se u kritičnom stanju. "Midnight Family" je egzistencijalni film o ljudima, društvu i gradu u sitne sate, dokumentarna inačica "Taxi Drivera" i "Nightcrawlera".

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Iz Sundancea u Hrvatsku

"Ponoćna obitelj" je imala premijeru na Sundance Film Festivalu, gdje je i osvojila jednu nagradu, a upravo se nalazi u distribuciji po nezavisnim hrvatskim kinima.

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Film & TVCINEMARK U KINU

PONOĆNA OBITELJ Bolničari na kraju grada

Piše Marko Njegić
16. prosinca 2020. - 17:20
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Zdravstveni sustav koji puca, tj. pukao je po šavovima portretira dokumentarni film "Midnight Family" režisera, producenta, snimatelja i montažera Lukea Lorentzena. Prebačeno smo u Mexico City, glavni grad Meksika koji raspolaže sa samo 45 ambulantnih kola hitne pomoći na devet miljuna stanovnika.

To je jednako porazno i podsjeća na brojku iz dokumentarca "Sofia's Last Ambulance" Iliana Meteva. Podsjetimo se, Sofija je 2012. na rapolaganju imala 13 kola hitne pomoći na 1.5 milijuna stanovnika. "Posljednja ambulantna kola Sofije" dođu "Ponoćnoj obitelji" kao osam godina stariji dokumentarni brat, još jedno dijete Scorseseove drame "Između života i smrti", ali Lorentzen pronalazi drukčiji kut priče u odnosu na Meteva.

Naime, "Sofia's Last Ambulance" je pratio intervencije...

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