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Kvartet Oscara u svojoj vitrini čuva meksički redatelj Alejandro G. Inarritu. Osvojio ih je tri za "Birdmana" i jednog za "Povratnika". Oscari su došli kao konačna potvrda Inarrituove veličine. Podsjetimo se, Inarritu je režirao i filmove "Pasja ljubav", "21 gram", "Babel" i "Biutiful".

Dvadeset godina nakon što se preselio u Ameriku i postao jedan od najnagrađivanijih novomilenijskih filmaša, Inarritu je, nadomak 60. rođendana, spreman za rekapitulaciju vlastite karijere i života koji je "(kratki) niz idiotskih slika i besmislenih događaja".

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FILM: Bardo, falsa crónica de unas cuantas verdades; drama; Meksiko, 2022. REŽIJA: Alejandro G. Inarritu ULOGE: Daniel Giménez Cacho, Griselda Siciliani OCJENA: *** ½

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Rezultat Inarrituova egzistencijalističkog previranja i preispitivanja je poluautobiografski film "Bardo, lažna kronika nekolicine istina" ("Bardo, falsa crónica de unas cuantas verdades").

Naslov filma, Inarrituova prvog na španjolskom jeziku nakon dugo godina, koji označava njegov povratak u Meksiko, odnosi se na budistički koncept prijelaznog ili graničnog stanja između smrti i ponovnog rođenja. "Bardo" je film o međustanju i opstoji na granici između fikcije, zbilje i fantazije, sna i jave, Amerike i Meksika, lažne kronike i nekolicine istina.

Glavni lik je, baš poput Inarritua, sredovječni Meksikanac koji živi u Americi, k tome novinar i redatelj/dokumentarist – Silverio Gacho (Daniel Giménez Cacho; na momente izgleda kao spoj Jeana Dujardina i Joaquina Phoenixa).

Naime, Silverio proživljava egzistencijalnu krizu srednjih godina, on osjeća krivnju što je napustio Meksiko i skrasio se u Los Angelesu, stoga propituje osjećaj pripadnosti, ali i cijeli svoj život, kao i Inarritu, čini se, opterećen pitanjima smrtnosti i identiteta. Inarritu je izgubio treće dijete nedugo nakon rođenja, a film započinje porodom Silveriove supruge Lucije (Griselda Siciliani). Beba šapne nešto doktoru i doznajemo da želi ostati unutra jer "svijet je sjeban", tako da je vraćena natrag u majčinu maternicu.

Nesvakidašnja scena bit će test za Inarrituove fanove, kamoli širu publiku. Da je "Bardo" nesvakidašnji film, jasno je i u uvodnoj sceni, kad vidimo sjenu nekog muškarca (Silverio) kako najprije šeta pustinjom, zatim se zatrči i odskoči u vis, leteći neko vrijeme poput superjunaka. Čak ni Birdman nije radio nešto slično u istoimenu filmu.

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Dakle, "Bardo" se u startu nameće kao magično-realistični film o duhovnom putovanju protagonista koji se ne libi sezanja prema nadrealnom. U tom sezanju, kako bi (ne)povezane unutarnje refleksije lika preslikao prema van, Inarritu doseže neke od vizualno-scenskih vrhunaca karijere, a snimateljska rješenja Dariusa Khondjija dostojna su svega što je meksički redatelj radio s oskarovcem Emmanuelom Lubezkim.

Scena Silveriova plesa u klubu na Bowiejevu "Let‘s Dance" prilično je veličanstvena, kao i sekvencija kad protagonist-filmaš postane dio scene koju snima i penje na planinu podignutu od mrtvih tijela. Međutim, neke scene su i isforsirane, koliko god da bile dobro režirane, primjerice rekreacija Meksičko-američkog rata, valjda da Silverio/Inarritu ponese meksičku povijest na svojim leđima te protagonistov susret s pokojnim ocem, tijekom kojeg je on smanjen na veličinu djeteta.

Zbog takvih scena "Bardo" povremeno djeluje kao egotripaški film, tzv. projekt iz taštine koji tendira Inarrituovu pokušaju vlastitog "Osam i pol". Klasik Federica Fellinija iz 1963. nedvojbeni je uzor za "Barda", pušten u kina u godini Inarrituova rođenja, a Inarritu se ugledao i u "Drvo života" Terrencea Malicka, točnije scene sa Seanom Pennom iz tog filma.

Pa ipak, "Bardo" je pretenciozniji, pritom srećom i samosvjestan. Stari Silveriov prijatelj i bivši partner Carlos (Hugo Albores) dat će kratku recenziju njegova posljednjeg filma koja se može primijeniti i na "Barda", uz dodatak da umije biti fascinantan.

"Pretenciozan, besmisleno oniričan, kako bi prikrio osrednji scenarij. Gomila besmislenih scena, trebalo je biti metaforično, ali nema poetsku inspiraciju, banalno je, nasumično", govori Carlos. Silverio će mu oduzeti moć govora i simbolički ušutkati buduće kritičare "Barda".

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Prvi meksički redatelj ikad nominiran za Oscara za režiju

Inarritu je ušao u povijest kao prvi meksički redatelj ikad nominiran za Oscara u kategoriji režije, a nominaciju je osvojio za "Babel". Do danas je osvojio dva Oscara u toj kategoriji ("Birdman", "Povratnik").

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Kvartet Oscara u svojoj vitrini čuva meksički redatelj Alejandro G. Inarritu. Osvojio ih je tri za "Birdmana" i jednog za "Povratnika". Oscari su došli kao konačna potvrda Inarrituove veličine. Podsjetimo se, Inarritu je režirao i filmove "Pasja ljubav", "21 gram", "Babel" i "Biutiful".

Dvadeset godina nakon što se preselio u Ameriku i postao jedan od najnagrađivanijih novomilenijskih filmaša, Inarritu je, nadomak 60. rođendana, spreman za rekapitulaciju vlastite karijere i života koji je "(kratki) niz idiotskih slika i besmislenih događaja".

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FILM: Bardo, falsa crónica de unas cuantas verdades; drama; Meksiko, 2022. REŽIJA: Alejandro G. Inarritu ULOGE: Daniel Giménez Cacho, Griselda Siciliani OCJENA: *** ½

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Rezultat Inarrituova egzistencijalističkog previranja i preispitivanja je poluautobiografski film "Bardo, lažna kronika nekolicine istina" ("Bardo, falsa crónica de unas cuantas verdades").

Naslov filma, Inarrituova prvog na španjolskom jeziku nakon dugo godina, koji označava njegov povratak u Meksiko, odnosi se na budistički koncept prijelaznog ili graničnog stanja između smrti i ponovnog rođenja. "Bardo" je film o međustanju i opstoji na granici između fikcije, zbilje i fantazije, sna i jave, Amerike i Meksika, lažne kronike i nekolicine istina.

Glavni lik je, baš poput Inarritua, sredovječni Meksikanac koji živi u Americi, k tome novinar i redatelj/dokumentarist – Silverio Gacho (Daniel Giménez Cacho; na momente izgleda kao spoj Jeana Dujardina i Joaquina Phoenixa).

Naime, Silverio proživljava egzistencijalnu krizu srednjih godina, on osjeća krivnju što je napustio Meksiko i skrasio se u Los Angelesu, stoga propituje osjećaj pripadnosti, ali i cijeli svoj život, kao i Inarritu, čini se, opterećen pitanjima smrtnosti i identiteta. Inarritu je izgubio treće dijete nedugo nakon rođenja, a film započinje porodom Silveriove supruge Lucije (Griselda Siciliani). Beba šapne nešto doktoru i doznajemo da želi ostati unutra jer "svijet je sjeban", tako da je vraćena natrag u majčinu maternicu.

Nesvakidašnja scena bit će test za Inarrituove fanove, kamoli širu publiku. Da je "Bardo" nesvakidašnji film, jasno je i u uvodnoj sceni, kad vidimo sjenu nekog muškarca (Silverio) kako najprije šeta pustinjom, zatim se zatrči i odskoči u vis, leteći neko vrijeme poput superjunaka. Čak ni Birdman nije radio nešto slično u istoimenu filmu.

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Dakle, "Bardo" se u startu nameće kao magično-realistični film o duhovnom putovanju protagonista koji se ne libi sezanja prema nadrealnom. U tom sezanju, kako bi (ne)povezane unutarnje refleksije lika preslikao prema van, Inarritu doseže neke od vizualno-scenskih vrhunaca karijere, a snimateljska rješenja Dariusa Khondjija dostojna su svega što je meksički redatelj radio s oskarovcem Emmanuelom Lubezkim.

Scena Silveriova plesa u klubu na Bowiejevu "Let‘s Dance" prilično je veličanstvena, kao i sekvencija kad protagonist-filmaš postane dio scene koju snima i penje na planinu podignutu od mrtvih tijela. Međutim, neke scene su i isforsirane, koliko god da bile dobro režirane, primjerice rekreacija Meksičko-američkog rata, valjda da Silverio/Inarritu ponese meksičku povijest na svojim leđima te protagonistov susret s pokojnim ocem, tijekom kojeg je on smanjen na veličinu djeteta.

Zbog takvih scena "Bardo" povremeno djeluje kao egotripaški film, tzv. projekt iz taštine koji tendira Inarrituovu pokušaju vlastitog "Osam i pol". Klasik Federica Fellinija iz 1963. nedvojbeni je uzor za "Barda", pušten u kina u godini Inarrituova rođenja, a Inarritu se ugledao i u "Drvo života" Terrencea Malicka, točnije scene sa Seanom Pennom iz tog filma.

Pa ipak, "Bardo" je pretenciozniji, pritom srećom i samosvjestan. Stari Silveriov prijatelj i bivši partner Carlos (Hugo Albores) dat će kratku recenziju njegova posljednjeg filma koja se može primijeniti i na "Barda", uz dodatak da umije biti fascinantan.

"Pretenciozan, besmisleno oniričan, kako bi prikrio osrednji scenarij. Gomila besmislenih scena, trebalo je biti metaforično, ali nema poetsku inspiraciju, banalno je, nasumično", govori Carlos. Silverio će mu oduzeti moć govora i simbolički ušutkati buduće kritičare "Barda".

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Prvi meksički redatelj ikad nominiran za Oscara za režiju

Inarritu je ušao u povijest kao prvi meksički redatelj ikad nominiran za Oscara u kategoriji režije, a nominaciju je osvojio za "Babel". Do danas je osvojio dva Oscara u toj kategoriji ("Birdman", "Povratnik").

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StoryEditorOCM
Film & TVCINEMARK U KUĆNOM KINU

‘Bardo, lažna kronika nekolicine istina‘: Oskarovac između smrti i ponovnog rođenja

Piše Marko Njegić
22. prosinca 2022. - 20:53
24032000
PREMIUM
Galerija
Netflix - Limbo Films - Estudios/Collection Christophel Via Afp

Kvartet Oscara u svojoj vitrini čuva meksički redatelj Alejandro G. Inarritu. Osvojio ih je tri za "Birdmana" i jednog za "Povratnika". Oscari su došli kao konačna potvrda Inarrituove veličine. Podsjetimo se, Inarritu je režirao i filmove "Pasja ljubav", "21 gram", "Babel" i "Biutiful".

Dvadeset godina nakon što se preselio u Ameriku i postao jedan od najnagrađivanijih novomilenijskih filmaša, Inarritu je, nadomak 60. rođendana, spreman za rekapitulaciju vlastite karijere i života koji je "(kratki) niz idiotskih slika i besmislenih događaja".

Rezultat Inarrituova egzistencijalističkog previranja i preispitivanja je poluautobiografski film "Bardo, lažna kronika nekolicine istina" ("Bardo, falsa crónica de unas cuantas verdades").

Naslov filma, Inarrituova prvog na...

#CINEMARK#CINEMARK U KUĆNOM KINU#BARDO#ALEJANDRO G. INARRITU#MEKSIČKI FILMOVI#DRAME#META FILMOVI#FESTIVALSKI FILMOVI
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13. svibanj 2024 08:50