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Izreka “veliki umovi slično razmišljaju” bila je na snazi 1994. godine kad je u pitanju regionalna i svjetska kinematografija. Naime, tada su u kratkom vremenskom razmaku (Cannes, Venecija) premijere imali slično strukturirani filmovi razlomljene, kružne naracije koja počinje i završava na istom mjestu – makedonski “Prije kiše” Milče Mančevskog i američki nezavisnjak “Pakleni šund” Quentina Tarantina.

Nešto manje od 30 ljeta kasnije, kazaljke su se poklopile za novo “great minds think alike” preklapanje regionalne i svjetske kinematografije u istoj godini. Američki film “Sve u isto vrijeme” imao je premijeru na prošlogodišnjem South By Southwest festivalu, a srpski “Da li ste vidjeli ovu ženu?” na Veneciji, baš kao i “Before Rain”.

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FILM: Da li ste videli ovu ženu?; Srbija, 2022. REŽIJA: Dušan Zorić i Matija Gluščević ULOGE: Ksenija Marinković, Isidora Simijonović OCJENA: ****

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“Everything Everywhere All At Once” i “Da li ste vidjeli ovu ženu?” bave se pitanjem višestrukih identiteta jedne sredovječne žene (Michelle Yeoh, Ksenija Marinković) i istražuju njezine multiverzume gdje ona igra različite likove i pokušava izići iz svoje “tesne kože” i oduprijeti se društvenim konvencijama koje joj nameću određene životne uloge. Oba filma, k tome, klize iz jednog žanra u drugi, a i potpisuju ih redateljski dvojci – Daniel Kwan i Daniel Scheinert, tj. Dušan Zorić i Matija Gluščević.

Tako, “Da li ste vidjeli ovu ženu?” može se titulirati kao svojevrsni “Sve u isto vrijeme” iz Srbije, a svakako je srpski film kakav niste još vidjeli, posebno zanimljiv za gledanje nakon što je “Everything Everywhere All At Once” osvojio puste Oscare i koncept multisvemira proširio na auditorij mimo Marvela (“Spider-Man: Put bez povratka”, “Doktor Strange u multiverzumu ludila”).

Ono što je “Sve u isto vrijeme” pružio popularnoj Yeoh, to “Da li ste vidjeli ovu ženu?” pruža nikad boljoj hrvatskoj glumici Marinković, najsveobuhvatniju i najhrabriju dramsku ulogu njezine karijere koja je dala raznolike izvedbe u, primjerice, filmovima “Neka ostane među nama”, “S one strane”, “Ustav RH” i “Sve najbolje”, kao i niz nastupa u srpskoj kinematografiji (“Šavovi”, “Nebesa”).

Film je jednako osovljen oko Ksenijine multiidentitetske uloge, kao i “Everything Everywhere All At Once” oko Michelle, samo što ta uloga ne postaje akcijsko-borilačka, sukladno tome da Marinković nije igrala kung-fu heroine akcije kao Yeoh. Zorićev i Gluščevićev dramski triptih fokusiran je na trostruku Draginju.

U prvoj liniji priče Draginja ide od stana do stana po Beogradu i drži prezentacije usisivača, sve dok u jednom stanu ne pronađe leš žene naizgled nalik njoj samoj. Debitantski redatelji koji obećavaju zarana uspostavljaju realistični i nadrealni ton filma kako bi drama mogla prirodnije prerasti u fantaziju. Kamera polako prelazi preko gradilišta i prilazi socijalističkoj zgradi i stanu u kojem je Draginja živjela i odatle nestala.

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S jedne strane imamo razrovani Beograd usred usijanog ljeta s bagerima na ulicama i temperaturama oko 40 stupnjeva i upozorenjem da ljudi ne napuštaju kuće i stanove. S druge, imamo voditelja televizijskih vijesti (Vladimir Jelić) koji nas neprirodno promatra s TV ekrana bez zvuka kao da je pristigao iz nekog apstraktnog oniričkog filma Davida Lyncha.

Utoliko, nije čudno da druga linija priče postaje neobičnija i u njoj Draginja kao crvenokosa medicinska sestra iz rodilišta prisvaja, bolje reći krade, jedno novorođenče ne bi li se s njim i unajmljenim suprugom (Boris Isaković) preko Zooma mogla svojoj konzervativnoj familiji i prijateljima prikazati kao udana žena i majka.

Prijelaz između prve i druge priče odvija se u klubu na techno-partyju gdje Draginja sreće mladu partijanericu (Isidora Simijonović iz “Klipa”) i pleše na ecstasyju u vizualno najdojmljivijoj sceni filma, nakon čega će izblijedjeti i postati eterična, gotovo pa doslovce nestati.

Treća narativna linija, pak, prikazuje Draginju kao polubeskućnicu, pripadnicu najdonjeg sloja društva koju malo tko vidi, posebice dok tumara gradom na temperaturama ispod nule kao kontrastu ljetnoj vrućini iz prve priče. Kao što Draginja mijenja uloge, tako se i film mijenja i preoblikuje, preslikavajući njezina duševna stanja kroz različite žanrovske registre, od prizemljene drame do fantazije i natrag u dramski naturalizam.

Gluščević i Zorić pritom dozivaju art-estetiku prvaka “crnog talasa” i prirodno se nadovezuju na ponajbolja novomilenijska (festivalsko-nezavisna) ostvarenja srpske kinematografije, od “Klipa” do “Života i smrti porno bande”. “Da li ste vidjeli ovu ženu?” je srpski film u isto vrijeme.

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Dalmatinska premijera u splitskoj ‘Kinoteci‘

Film je nakon Venecije bio na Festivalu autorskog filma (FAF) u Beogradu, a hrvatska festivalska premijera održana je Human Rights Film Festivalu. Ovog četvrtka ima dalmatinsku premijeru u splitskoj ‘Kinoteci‘, uz nazočnost glumice Ksenije Marinković.

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Izreka “veliki umovi slično razmišljaju” bila je na snazi 1994. godine kad je u pitanju regionalna i svjetska kinematografija. Naime, tada su u kratkom vremenskom razmaku (Cannes, Venecija) premijere imali slično strukturirani filmovi razlomljene, kružne naracije koja počinje i završava na istom mjestu – makedonski “Prije kiše” Milče Mančevskog i američki nezavisnjak “Pakleni šund” Quentina Tarantina.

Nešto manje od 30 ljeta kasnije, kazaljke su se poklopile za novo “great minds think alike” preklapanje regionalne i svjetske kinematografije u istoj godini. Američki film “Sve u isto vrijeme” imao je premijeru na prošlogodišnjem South By Southwest festivalu, a srpski “Da li ste vidjeli ovu ženu?” na Veneciji, baš kao i “Before Rain”.

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FILM: Da li ste videli ovu ženu?; Srbija, 2022. REŽIJA: Dušan Zorić i Matija Gluščević ULOGE: Ksenija Marinković, Isidora Simijonović OCJENA: ****

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“Everything Everywhere All At Once” i “Da li ste vidjeli ovu ženu?” bave se pitanjem višestrukih identiteta jedne sredovječne žene (Michelle Yeoh, Ksenija Marinković) i istražuju njezine multiverzume gdje ona igra različite likove i pokušava izići iz svoje “tesne kože” i oduprijeti se društvenim konvencijama koje joj nameću određene životne uloge. Oba filma, k tome, klize iz jednog žanra u drugi, a i potpisuju ih redateljski dvojci – Daniel Kwan i Daniel Scheinert, tj. Dušan Zorić i Matija Gluščević.

Tako, “Da li ste vidjeli ovu ženu?” može se titulirati kao svojevrsni “Sve u isto vrijeme” iz Srbije, a svakako je srpski film kakav niste još vidjeli, posebno zanimljiv za gledanje nakon što je “Everything Everywhere All At Once” osvojio puste Oscare i koncept multisvemira proširio na auditorij mimo Marvela (“Spider-Man: Put bez povratka”, “Doktor Strange u multiverzumu ludila”).

Ono što je “Sve u isto vrijeme” pružio popularnoj Yeoh, to “Da li ste vidjeli ovu ženu?” pruža nikad boljoj hrvatskoj glumici Marinković, najsveobuhvatniju i najhrabriju dramsku ulogu njezine karijere koja je dala raznolike izvedbe u, primjerice, filmovima “Neka ostane među nama”, “S one strane”, “Ustav RH” i “Sve najbolje”, kao i niz nastupa u srpskoj kinematografiji (“Šavovi”, “Nebesa”).

Film je jednako osovljen oko Ksenijine multiidentitetske uloge, kao i “Everything Everywhere All At Once” oko Michelle, samo što ta uloga ne postaje akcijsko-borilačka, sukladno tome da Marinković nije igrala kung-fu heroine akcije kao Yeoh. Zorićev i Gluščevićev dramski triptih fokusiran je na trostruku Draginju.

U prvoj liniji priče Draginja ide od stana do stana po Beogradu i drži prezentacije usisivača, sve dok u jednom stanu ne pronađe leš žene naizgled nalik njoj samoj. Debitantski redatelji koji obećavaju zarana uspostavljaju realistični i nadrealni ton filma kako bi drama mogla prirodnije prerasti u fantaziju. Kamera polako prelazi preko gradilišta i prilazi socijalističkoj zgradi i stanu u kojem je Draginja živjela i odatle nestala.

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S jedne strane imamo razrovani Beograd usred usijanog ljeta s bagerima na ulicama i temperaturama oko 40 stupnjeva i upozorenjem da ljudi ne napuštaju kuće i stanove. S druge, imamo voditelja televizijskih vijesti (Vladimir Jelić) koji nas neprirodno promatra s TV ekrana bez zvuka kao da je pristigao iz nekog apstraktnog oniričkog filma Davida Lyncha.

Utoliko, nije čudno da druga linija priče postaje neobičnija i u njoj Draginja kao crvenokosa medicinska sestra iz rodilišta prisvaja, bolje reći krade, jedno novorođenče ne bi li se s njim i unajmljenim suprugom (Boris Isaković) preko Zooma mogla svojoj konzervativnoj familiji i prijateljima prikazati kao udana žena i majka.

Prijelaz između prve i druge priče odvija se u klubu na techno-partyju gdje Draginja sreće mladu partijanericu (Isidora Simijonović iz “Klipa”) i pleše na ecstasyju u vizualno najdojmljivijoj sceni filma, nakon čega će izblijedjeti i postati eterična, gotovo pa doslovce nestati.

Treća narativna linija, pak, prikazuje Draginju kao polubeskućnicu, pripadnicu najdonjeg sloja društva koju malo tko vidi, posebice dok tumara gradom na temperaturama ispod nule kao kontrastu ljetnoj vrućini iz prve priče. Kao što Draginja mijenja uloge, tako se i film mijenja i preoblikuje, preslikavajući njezina duševna stanja kroz različite žanrovske registre, od prizemljene drame do fantazije i natrag u dramski naturalizam.

Gluščević i Zorić pritom dozivaju art-estetiku prvaka “crnog talasa” i prirodno se nadovezuju na ponajbolja novomilenijska (festivalsko-nezavisna) ostvarenja srpske kinematografije, od “Klipa” do “Života i smrti porno bande”. “Da li ste vidjeli ovu ženu?” je srpski film u isto vrijeme.

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Dalmatinska premijera u splitskoj ‘Kinoteci‘

Film je nakon Venecije bio na Festivalu autorskog filma (FAF) u Beogradu, a hrvatska festivalska premijera održana je Human Rights Film Festivalu. Ovog četvrtka ima dalmatinsku premijeru u splitskoj ‘Kinoteci‘, uz nazočnost glumice Ksenije Marinković.

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StoryEditorOCM
Film & TVCINEMARK U KINU

‘Da li ste vidjeli ovu ženu?‘: Sve Ksenije u isto vrijeme ili srpski film kakav niste još vidjeli

Piše Marko Njegić
29. ožujka 2023. - 16:32
24605190
PREMIUM
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Izreka “veliki umovi slično razmišljaju” bila je na snazi 1994. godine kad je u pitanju regionalna i svjetska kinematografija. Naime, tada su u kratkom vremenskom razmaku (Cannes, Venecija) premijere imali slično strukturirani filmovi razlomljene, kružne naracije koja počinje i završava na istom mjestu – makedonski “Prije kiše” Milče Mančevskog i američki nezavisnjak “Pakleni šund” Quentina Tarantina.

Nešto manje od 30 ljeta kasnije, kazaljke su se poklopile za novo “great minds think alike” preklapanje regionalne i svjetske kinematografije u istoj godini. Američki film “Sve u isto vrijeme” imao je premijeru na prošlogodišnjem South By Southwest festivalu, a srpski “Da li ste vidjeli ovu ženu?” na Veneciji, baš kao i “Before...

#CINEMARK#CINEMARK U KINU #KSENIJA MARINKOVIĆ#SRPSKI FILMOVI#KINOTEKA#DUŠAN ZORIĆ #MATIJA GLUŠČEVIĆ#ISIDORA SIMIJONOVIĆ#BORIS ISAKOVIĆ
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