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Navođenje na krivi “serial killer” trag krije se u kratkom sinopsisu iranskog filma “Ubojstvo eunuha Khana” (“Killing The Eunuch Khan”), drugijenca darovitog 35-godišnjeg scenarista i redatelja Abeda Abesta. Ukratko: “Serijski ubojica terorizira grad, toliko da se krv slijeva u potocima. Da postigne cilj, on smišlja plan u kojem žrtve ubijaju žrtve. Plan je izvršen i krv se postupno slijeva gradom od strane ljudi dok se ljudi međusobno ubijaju...”

Tko ovo pročita i očekuje barem “Svetog pauka”, ako ne “Kad jaganjci utihnu”, “Sedam” ili “Zodijaka”, nemalo će se iznenaditi, zasigurno i razočarati. Krv se u filmu slijeva ne samo u potocima, već i rijekama, ali “Ubojstvo eunuha Khana” nije serijsko-ubilački horor-triler, niti u njemu operira serijski ubojica, neki novi Spider Killer ili iranska inačica Jigsawa iz “Slagalice strave”.

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FILM: Killing The Eunuch Khan; trilerska drama; Iran, 2021. REŽIJA: Abed Abest ULOGE: Vahid Rad, Sara Mohammadi OCJENA: **** ½

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Serijsko ubojstvo ovdje je alegorične prirode, ekvivalent sustavnom ubijanju na višoj razini, a serijski ubojica nije jedan čovjek, već vlada i država kojima su ljudi žrtveno janje za klanje, topovsko meso i kolateralna šteta. Treba istaknuti, “Killing The Eunuch Khan” je ambijentiran u doba Iransko-iračkog rata osamdesetih, no ambijentacija ne djeluje “fiksno” zbog preklapanja vremena i prostora.

Kad u priču uđu dva vojnika kao utjelovljenja duhova buduće ratne prošlosti (Missagh Zareh, Iman Basim), ako ne i ranije, film se može sagledati i kao eho američkog rata protiv terora, tj. bombardiranja Bliskog istoka nakon 11. rujna 2001. godine.

Priča se odvija na granici Irana i Iraka, gdje u kući impresivnih eksterijera i interijera živi neimenovani iranski otac (Vahid Rad) s dvije kćerkice Nasrin i Ahoo (Sara Mohammadi, Mah-Sima Kabari) koje će jednog dana u njegovoj odsutnosti stradati kad grune zalutala iračka bomba.

Tragični gubitak kćeri duboko se zarezuje u psihu oca i lako je moguće da je sve što dalje gledamo mozaik očevih košmarnih misli u kojem se nadrealno isprepleće s realnim i negdje na toj razmeđi Abest i postavlja umjetnički spektakularno režiran film, prepun neizbrisivih filmskih slika, najposebniji s ovogodišnjeg STFF-a i šire.

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S bijelih zidova kuće prelijeva se crvena boja krvi i pljušti poput kiše. Krv se slijeva niz naglo zacrvenjene bijele spiralne stepenice, koje su čest motiv zavojitog ljudskog uma u psihološkim trilerima (“Vrtoglavica”, “U posljednjoj fazi”, “Dvostruki ljubavnik”...), prelijevajući se poput tsunamija u krater od bombe i rupu koju je otac iskopao da pokopa kćeri, a kamera ga pratila u ritmu kopanja.

Potok i rijeka krvi postaju jezero. Nakon što krv prekrije okolicu očeve kuće, ona nastavlja teći po gradu, kao simbol ubijenih žrtava bezumnog rata. Sve to Abest snima na stiliziran, estetski ekstravagantan način, iznimno perfekcionistički, s okom sokolovim za geometrijski precizne kompozicije kadrova, hororski parafrazirajući Briana De Palmu u “Carrie” i, napose, Stanleyja Kubricka u “Isijavanju”.

Galoni, gejziri i bazeni krvi kod Abesta čak i nadmašuju količinu crvene boje u De Palminim i Kubrickovim klasicima. Rijetko je kada košmarni horor snoliko lijep kao u “Ubojstvu eunuha Khana”. Horor rata oslikan ekspresionističkim simboličkim slikama od festivalskog do žanrovskog filma.

”Killing The Eunuch Khan” je vizualan, a ne narativan film. Dijalozi su škrti, ali slike govore tisuću riječi i oduzimaju dah zahvaljujući čudesnim i začudnim kadrovima, vizualno podsjećajući na radove Tarsema Singha (“Ćelija”, “Pad”). Abest je, uz veliku pomoć direktora fotografije Hamida Khozouiea Abyanea, stvorio jedan od najvizualnijih festivalskih filmova svih vremena kojemu je uputno prepustiti se širom otvorenih očiju. Nezaboravno osjetilno iskustvo.

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Glumac, dramaturg, redatelj

"Ubojstvo eunuha Khana" je drugi dugometražni film redatelja rođenog 1987. u Iranu koji je karijeru započeo kao kazališni glumac i dramaturg. Abedov prvijenac bio je "Simulation", prikazan na Berlinaleu.

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Navođenje na krivi “serial killer” trag krije se u kratkom sinopsisu iranskog filma “Ubojstvo eunuha Khana” (“Killing The Eunuch Khan”), drugijenca darovitog 35-godišnjeg scenarista i redatelja Abeda Abesta. Ukratko: “Serijski ubojica terorizira grad, toliko da se krv slijeva u potocima. Da postigne cilj, on smišlja plan u kojem žrtve ubijaju žrtve. Plan je izvršen i krv se postupno slijeva gradom od strane ljudi dok se ljudi međusobno ubijaju...”

Tko ovo pročita i očekuje barem “Svetog pauka”, ako ne “Kad jaganjci utihnu”, “Sedam” ili “Zodijaka”, nemalo će se iznenaditi, zasigurno i razočarati. Krv se u filmu slijeva ne samo u potocima, već i rijekama, ali “Ubojstvo eunuha Khana” nije serijsko-ubilački horor-triler, niti u njemu operira serijski ubojica, neki novi Spider Killer ili iranska inačica Jigsawa iz “Slagalice strave”.

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FILM: Killing The Eunuch Khan; trilerska drama; Iran, 2021. REŽIJA: Abed Abest ULOGE: Vahid Rad, Sara Mohammadi OCJENA: **** ½

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Serijsko ubojstvo ovdje je alegorične prirode, ekvivalent sustavnom ubijanju na višoj razini, a serijski ubojica nije jedan čovjek, već vlada i država kojima su ljudi žrtveno janje za klanje, topovsko meso i kolateralna šteta. Treba istaknuti, “Killing The Eunuch Khan” je ambijentiran u doba Iransko-iračkog rata osamdesetih, no ambijentacija ne djeluje “fiksno” zbog preklapanja vremena i prostora.

Kad u priču uđu dva vojnika kao utjelovljenja duhova buduće ratne prošlosti (Missagh Zareh, Iman Basim), ako ne i ranije, film se može sagledati i kao eho američkog rata protiv terora, tj. bombardiranja Bliskog istoka nakon 11. rujna 2001. godine.

Priča se odvija na granici Irana i Iraka, gdje u kući impresivnih eksterijera i interijera živi neimenovani iranski otac (Vahid Rad) s dvije kćerkice Nasrin i Ahoo (Sara Mohammadi, Mah-Sima Kabari) koje će jednog dana u njegovoj odsutnosti stradati kad grune zalutala iračka bomba.

Tragični gubitak kćeri duboko se zarezuje u psihu oca i lako je moguće da je sve što dalje gledamo mozaik očevih košmarnih misli u kojem se nadrealno isprepleće s realnim i negdje na toj razmeđi Abest i postavlja umjetnički spektakularno režiran film, prepun neizbrisivih filmskih slika, najposebniji s ovogodišnjeg STFF-a i šire.

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S bijelih zidova kuće prelijeva se crvena boja krvi i pljušti poput kiše. Krv se slijeva niz naglo zacrvenjene bijele spiralne stepenice, koje su čest motiv zavojitog ljudskog uma u psihološkim trilerima (“Vrtoglavica”, “U posljednjoj fazi”, “Dvostruki ljubavnik”...), prelijevajući se poput tsunamija u krater od bombe i rupu koju je otac iskopao da pokopa kćeri, a kamera ga pratila u ritmu kopanja.

Potok i rijeka krvi postaju jezero. Nakon što krv prekrije okolicu očeve kuće, ona nastavlja teći po gradu, kao simbol ubijenih žrtava bezumnog rata. Sve to Abest snima na stiliziran, estetski ekstravagantan način, iznimno perfekcionistički, s okom sokolovim za geometrijski precizne kompozicije kadrova, hororski parafrazirajući Briana De Palmu u “Carrie” i, napose, Stanleyja Kubricka u “Isijavanju”.

Galoni, gejziri i bazeni krvi kod Abesta čak i nadmašuju količinu crvene boje u De Palminim i Kubrickovim klasicima. Rijetko je kada košmarni horor snoliko lijep kao u “Ubojstvu eunuha Khana”. Horor rata oslikan ekspresionističkim simboličkim slikama od festivalskog do žanrovskog filma.

”Killing The Eunuch Khan” je vizualan, a ne narativan film. Dijalozi su škrti, ali slike govore tisuću riječi i oduzimaju dah zahvaljujući čudesnim i začudnim kadrovima, vizualno podsjećajući na radove Tarsema Singha (“Ćelija”, “Pad”). Abest je, uz veliku pomoć direktora fotografije Hamida Khozouiea Abyanea, stvorio jedan od najvizualnijih festivalskih filmova svih vremena kojemu je uputno prepustiti se širom otvorenih očiju. Nezaboravno osjetilno iskustvo.

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Glumac, dramaturg, redatelj

"Ubojstvo eunuha Khana" je drugi dugometražni film redatelja rođenog 1987. u Iranu koji je karijeru započeo kao kazališni glumac i dramaturg. Abedov prvijenac bio je "Simulation", prikazan na Berlinaleu.

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StoryEditorOCM
Film & TVCINEMARK NA FESTIVALU

‘Ubojstvo eunuha Khana‘: Jedan od najvizualnijih festivalskih filmova svih vremena

8. rujna 2022. - 17:00

Navođenje na krivi “serial killer” trag krije se u kratkom sinopsisu iranskog filma “Ubojstvo eunuha Khana” (“Killing The Eunuch Khan”), drugijenca darovitog 35-godišnjeg scenarista i redatelja Abeda Abesta. Ukratko: “Serijski ubojica terorizira grad, toliko da se krv slijeva u potocima. Da postigne cilj, on smišlja plan u kojem žrtve ubijaju žrtve. Plan je izvršen i krv se postupno slijeva gradom od strane ljudi dok se ljudi međusobno ubijaju...”

Tko ovo pročita i očekuje barem “Svetog pauka”, ako ne “Kad jaganjci utihnu”, “Sedam” ili “Zodijaka”, nemalo će se iznenaditi, zasigurno i razočarati. Krv se u filmu slijeva ne samo u potocima, već i rijekama, ali “Ubojstvo eunuha Khana” nije serijsko-ubilački horor-triler, niti u njemu operira...

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12. svibanj 2024 19:24