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Izolacija i trajan ugođaj tjeskobe, reduciran na tek dva protagonista od kojih je jedan hendikepiran i potpuno ovisan o duševno poremećenom sustanaru. S takvim je obrascem filmske 1990-te načeo američki psihološki triler 'Misery' po romanu Stephena Kinga. Kathy Bates donio je Oscara za ulogu manijakalne obožavateljice oduzetog književnika (James Caan), a sedmoj umjetnosti nove zanatske izazove.


Tridesetak ljeta kasnije, na izmaku mršave hollywoodske 2020. publiku gladnu kvalitetnih naslova dočekao je punokrvni pripadnik žanra, djelo redatelja Aneesha Chagantya 'Bježi!'. Utemeljen na strogom minimalizmu, prati svakodnevicu majke Diane (Sarah Paulson iz aktualnog TV serijala 'Ratched') i njezine nepokretne kćerke tinejdžerice Chloe (debitantica Kiera Allen, u stvarnom životu invalidna osoba) kroz mnoštvo uznemirujućih nijansi obiteljskih odnosa.


Glumački tandem Paulson-Allen u toj interakciji besprijekorno funkcionira. Filmska mater Paulson dostojno dopunjuje rastući niz uloga dijaboličnih junakinja skrivenih ispod naizgled mirne i krhke vanjštine. Ova filmska bravura kod Paulson se prirodno nadograđuje na rolu zlokobne medicinske sestre iz Netflixove 'Ratched'.

Diane je samohrana roditeljica, zlostavljačica i psihotični control-freak u jednom, a pojavom zastrašuje više negoli škrtim replikama. Mlada Allen s lakoćom se srodila s ulogom majčine zatočenice koja, međutim, nije ni ustrašena ni bespomoćna kako bi se to očekivalo iz njezine anamneze. Središnji dio radnje u kojem Chloe preko noći izrasta u sumnjičavu mladu ženu ostavlja osobito snažan dojam kod gledatelja.


30-godišnja redateljska nada Aneesh Chaganty očito je dobro proučila opus svog starijeg sunarodnjaka, američkog Indijca M. Nighta Shyamalana koji se u međuvremenu utopio u prosječnosti. Iznenađujući završni 'twist' Chagantyeva filma atmosferski podsjeća na zlatno doba shyamalanštine.


U samo sat i pol trajanja, 'Bježi!' pruža puni doživljaj horora, trilera i obiteljske drame u kojoj nema mjesta ni za Chloeina tobožnjeg oca ni ikog drugog iz dalekog vanjskog svijeta. Ponešto banalna eliminacija dostavljača koji pokuša zaštititi kći od demonske majke to samo potvrđuje.

Nađe se tu još pokoja nespretnost povučena iz žanrovskih klišeja, no toliko minorna da ničim ne šteti cjelini. A cjelinu motivski najjače određuje sukob ega dviju snažnih žena, neovisan o dobi, statusu i eksternim podražajima.

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Izolacija i trajan ugođaj tjeskobe, reduciran na tek dva protagonista od kojih je jedan hendikepiran i potpuno ovisan o duševno poremećenom sustanaru. S takvim je obrascem filmske 1990-te načeo američki psihološki triler 'Misery' po romanu Stephena Kinga. Kathy Bates donio je Oscara za ulogu manijakalne obožavateljice oduzetog književnika (James Caan), a sedmoj umjetnosti nove zanatske izazove.


Tridesetak ljeta kasnije, na izmaku mršave hollywoodske 2020. publiku gladnu kvalitetnih naslova dočekao je punokrvni pripadnik žanra, djelo redatelja Aneesha Chagantya 'Bježi!'. Utemeljen na strogom minimalizmu, prati svakodnevicu majke Diane (Sarah Paulson iz aktualnog TV serijala 'Ratched') i njezine nepokretne kćerke tinejdžerice Chloe (debitantica Kiera Allen, u stvarnom životu invalidna osoba) kroz mnoštvo uznemirujućih nijansi obiteljskih odnosa.


Glumački tandem Paulson-Allen u toj interakciji besprijekorno funkcionira. Filmska mater Paulson dostojno dopunjuje rastući niz uloga dijaboličnih junakinja skrivenih ispod naizgled mirne i krhke vanjštine. Ova filmska bravura kod Paulson se prirodno nadograđuje na rolu zlokobne medicinske sestre iz Netflixove 'Ratched'.

Diane je samohrana roditeljica, zlostavljačica i psihotični control-freak u jednom, a pojavom zastrašuje više negoli škrtim replikama. Mlada Allen s lakoćom se srodila s ulogom majčine zatočenice koja, međutim, nije ni ustrašena ni bespomoćna kako bi se to očekivalo iz njezine anamneze. Središnji dio radnje u kojem Chloe preko noći izrasta u sumnjičavu mladu ženu ostavlja osobito snažan dojam kod gledatelja.


30-godišnja redateljska nada Aneesh Chaganty očito je dobro proučila opus svog starijeg sunarodnjaka, američkog Indijca M. Nighta Shyamalana koji se u međuvremenu utopio u prosječnosti. Iznenađujući završni 'twist' Chagantyeva filma atmosferski podsjeća na zlatno doba shyamalanštine.


U samo sat i pol trajanja, 'Bježi!' pruža puni doživljaj horora, trilera i obiteljske drame u kojoj nema mjesta ni za Chloeina tobožnjeg oca ni ikog drugog iz dalekog vanjskog svijeta. Ponešto banalna eliminacija dostavljača koji pokuša zaštititi kći od demonske majke to samo potvrđuje.

Nađe se tu još pokoja nespretnost povučena iz žanrovskih klišeja, no toliko minorna da ničim ne šteti cjelini. A cjelinu motivski najjače određuje sukob ega dviju snažnih žena, neovisan o dobi, statusu i eksternim podražajima.

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Ilustracija
Ilustracija
Sarah Paulson i Kiera Allen glume majku i kći u psihološkom trileru Aneesha Chagantya
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ZabavaFILM TJEDNA |

BJEŽI ! Psihološki triler o krnjoj obitelji zastrašujuća je priča o preživljavanju u kojoj su obje akterice besprijekorne

Piše Gabrijela Bijelić
15. siječnja 2021. - 14:58
Sarah Paulson i Kiera Allen glume majku i kći u psihološkom trileru Aneesha Chagantya
Sarah Paulson i Kiera Allen glume majku i kći u psihološkom trileru Aneesha ChagantyaIlustracija

Izolacija i trajan ugođaj tjeskobe, reduciran na tek dva protagonista od kojih je jedan hendikepiran i potpuno ovisan o duševno poremećenom sustanaru. S takvim je obrascem filmske 1990-te načeo američki psihološki triler 'Misery' po romanu Stephena Kinga. Kathy Bates donio je Oscara za ulogu manijakalne obožavateljice oduzetog književnika (James Caan), a sedmoj umjetnosti nove zanatske izazove.


Tridesetak ljeta kasnije, na izmaku mršave hollywoodske 2020. publiku gladnu kvalitetnih naslova dočekao je punokrvni pripadnik žanra, djelo redatelja Aneesha Chagantya 'Bježi!'. Utemeljen na strogom minimalizmu, prati svakodnevicu majke Diane (Sarah Paulson iz aktualnog TV serijala 'Ratched') i njezine nepokretne kćerke tinejdžerice Chloe (debitantica Kiera Allen, u stvarnom životu invalidna osoba) kroz mnoštvo uznemirujućih nijansi obiteljskih odnosa.


Glumački tandem Paulson-Allen u toj interakciji besprijekorno funkcionira. Filmska mater Paulson dostojno dopunjuje rastući niz uloga dijaboličnih junakinja skrivenih ispod naizgled mirne i krhke vanjštine. Ova filmska bravura kod Paulson se prirodno nadograđuje na rolu zlokobne medicinske sestre iz Netflixove 'Ratched'.

Diane je samohrana roditeljica, zlostavljačica i psihotični control-freak u jednom, a pojavom zastrašuje više negoli škrtim replikama. Mlada Allen s lakoćom se srodila s ulogom majčine zatočenice koja, međutim, nije ni ustrašena ni bespomoćna kako bi se to očekivalo iz njezine anamneze. Središnji dio radnje u kojem Chloe preko noći izrasta u sumnjičavu mladu ženu ostavlja osobito snažan dojam kod gledatelja.


30-godišnja redateljska nada Aneesh Chaganty očito je dobro proučila opus svog starijeg sunarodnjaka, američkog Indijca M. Nighta Shyamalana koji se u međuvremenu utopio u prosječnosti. Iznenađujući završni 'twist' Chagantyeva filma atmosferski podsjeća na zlatno doba shyamalanštine.


U samo sat i pol trajanja, 'Bježi!' pruža puni doživljaj horora, trilera i obiteljske drame u kojoj nema mjesta ni za Chloeina tobožnjeg oca ni ikog drugog iz dalekog vanjskog svijeta. Ponešto banalna eliminacija dostavljača koji pokuša zaštititi kći od demonske majke to samo potvrđuje.

Nađe se tu još pokoja nespretnost povučena iz žanrovskih klišeja, no toliko minorna da ničim ne šteti cjelini. A cjelinu motivski najjače određuje sukob ega dviju snažnih žena, neovisan o dobi, statusu i eksternim podražajima.

#BJEŽI!#KINEMATOGRAFI DUBROVIK
13. svibanj 2024 18:16