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Ugodno iznenađenje od filma i film pun iznenađenja. Sve to je "Dođi k tatici". Iznenađenje jedno za drugim i trećim čeka filmofile u potencijalnom kultu koji ima hrvatsku premijeru ovog četvrtka na Fantastic Zagreb Film Festivalu. Fantastic je festival žanrovskog filma, jedini u Hrvatskoj, a "Come To Daddy" je punokrvni žanrovski film, bolje reći – transžanrovski.

Dugometražni prvijenac novozelandskog filmaša Anta Timpsona teško je uopće kategorizirati. Recimo da je to crnohumorni horor triler s elementima obiteljske drame ili obiteljska drama s elementima mračno-komičnog hororskog "thrillera". Film se odbija trajno nastaniti u jednom žanru i svako malo mijenja žanrovske brzine, iz niže u višu i natrag.

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FILM: Come To Daddy; crnohumorni horor triler; SAD/Novi Zeland/Kanada/Irska, 2019. REŽIJA: Ant Timpson ULOGE: Elijah Wood, Stephen McHattie OCJENA: ****

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Međutim, Timpsonovo međužanrovsko balansiranje najvećim je dijelom izvedeno znalački, iako "Dođi k tatici" čitavo vrijeme "prijeti" da bi mogao ispasti iz balansa iz kojeg, pak, definitivno izbacuje gledatelja, opet i iznova, taman kad pomisli da je postigao ravnotežu (i gledatelj i film).

"Come To Daddy" umije u više navrata zateći i zaskočiti publiku tijekom 95-minutna trajanja, žanrovski, tonalno, svakako, a najavljuje to početnim citatom Shakespearea i Beyonce (!) u vezi očeva i djece. Zatjecanje i zaskakanje publike je njegov glavni adut, uz režijsku/narativnu nepredvidljivost, krvlju poškropljeni apsurdistički crno-crveni humor i odličnu ulogu Elijaha Wooda.

Mladi glumac skriven je iza brčića da uopće ne prepoznajemo dragog hobita Froda iz blockbusterske trilogije "Gospodar prstenova". Wood glumi Norvala, uspješnog milenijalca, DJ-a i producenta koji odlazi u posjet ocu, na očev nagovor u obliku pisma, 30 godina nakon što ga je ovaj napustio.

Jednom kad mu pokuca na vrata, u kući bogu iza nogu, otac (Stephen McHattie) djeluje iznenađeno i pokazuje da mu baš i nije stalo do njegova posjeta, kao da je – misli Norval – napisao pismo u pijanom stanju, ako ga je uopće napisao. U tom času izgleda da će film biti obiteljska, generacijska i karakterna "father-son" drama iz sfere (američkih) nezavisnjaka o disfunkcionalnim familijama, odnosno "reunionu" razmetnih sinova i(li) otuđenih očeva sklonih piću.

Doznajemo da je Norval "mamin sin" i da je imao problem s alkoholom zbog čega više ne pije. Naglašenim sipanjem vina u svoju čašu otac provocira sina i hvata ga u laži – da je blizak s poznatim facama poput Eltona Johna, s čime se Norval kočoperi kako bi ga zadivio, kao i sa "dizajnerskim" zlatnim mobitelom poznatog glazbenika, jednim od 20 na cijelom svijetu.

"Ni ja ne znam Eltona, ali znamo da sereš", prospe otac nedugo nakon što mu je sinov mobitel nehotice iskliznuo iz ruke i pao u more ("Sad ih ima 19 na cijelom svijetu"). Postupno dijabolično izgledajući otac postaje sve agresivniji, zamalo pogađa sina kamenom koji baci u more i nije mu baš za vjerovati kad uzme sataru u ruke, a i atmosfera je sve čudnija i napetija.

Otac svake večeri priča s nekim na telefon. "On je mrtav, ne želim biti njegov babysitter", čujemo kad naćulimo uši s Norvalom. Nešto ovdje ne štima, samo što? Što se, kvragu, događa? Je li u međuvremenu otac pukao u izolaciji, došao nadomak ubojice? Hoćemo li gledati svojevrsnu "Misery" s ocem i sinom?

Teško je predvidjeti kamo film ide, posebice kad doznamo da kuća skriva neke tajne i Norval počinje čuti jezive zvukove usred noći iz kvazi-nadnaravnog "haunted house" horora. Da Norval možda ne puca po šavu nakon što se od stresa nanovo okrene cugi? Pojava nekih sumnjivih tipova iz očeve prošlosti prizemljuje navodni nadnaravni horor i pretvara "Dođi k tatici" u "coenovski" i "tarantinovski" komad "blood and guts" krimi-trilera s hororski poremećenim humorom i još poremećenijom logikom. 

Takva logika je iskazana u dijalogu "Nisam spreman za ovo, nisam ubojica. Ubio si nekog prije doslovno pet minuta...". Na momente su stvari toliko nevjerojatne pa film naizgled preuzima logiku sna ili košmara, kao u sceni Narvalova šuljanja po sobi motela pored kreveta s usnulim sudionicima orgije.

No, stvari funkcioniraju zato što Timpson povezuje multižanrovsku tenziju i neobično dirljivu emociju melodrame o pomirbi oca i sina. Timpson režira film na granici logike (sna) i ivici sjekire, tj. satare i svega oštrog/ubojitoga što Narvalu dođe pod ruku kako bi se obranio i izmirio s ocem. Do izmirenja bi moglo doći, ali ne kako su on i gledatelji zamišljali.

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Bijeg od Froda

Elijah Wood već godinama pokušava i uspijeva izaći iz sjene Froda igranjem netipičnih uloga. Sjetimo ga se, recimo, u "Sin Cityju" i "Maniacu". Opet, horor mu je u krvi još od malena ("The Good Son" s Macualayjem Culkinom).

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Ugodno iznenađenje od filma i film pun iznenađenja. Sve to je "Dođi k tatici". Iznenađenje jedno za drugim i trećim čeka filmofile u potencijalnom kultu koji ima hrvatsku premijeru ovog četvrtka na Fantastic Zagreb Film Festivalu. Fantastic je festival žanrovskog filma, jedini u Hrvatskoj, a "Come To Daddy" je punokrvni žanrovski film, bolje reći – transžanrovski.

Dugometražni prvijenac novozelandskog filmaša Anta Timpsona teško je uopće kategorizirati. Recimo da je to crnohumorni horor triler s elementima obiteljske drame ili obiteljska drama s elementima mračno-komičnog hororskog "thrillera". Film se odbija trajno nastaniti u jednom žanru i svako malo mijenja žanrovske brzine, iz niže u višu i natrag.

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FILM: Come To Daddy; crnohumorni horor triler; SAD/Novi Zeland/Kanada/Irska, 2019. REŽIJA: Ant Timpson ULOGE: Elijah Wood, Stephen McHattie OCJENA: ****

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Međutim, Timpsonovo međužanrovsko balansiranje najvećim je dijelom izvedeno znalački, iako "Dođi k tatici" čitavo vrijeme "prijeti" da bi mogao ispasti iz balansa iz kojeg, pak, definitivno izbacuje gledatelja, opet i iznova, taman kad pomisli da je postigao ravnotežu (i gledatelj i film).

"Come To Daddy" umije u više navrata zateći i zaskočiti publiku tijekom 95-minutna trajanja, žanrovski, tonalno, svakako, a najavljuje to početnim citatom Shakespearea i Beyonce (!) u vezi očeva i djece. Zatjecanje i zaskakanje publike je njegov glavni adut, uz režijsku/narativnu nepredvidljivost, krvlju poškropljeni apsurdistički crno-crveni humor i odličnu ulogu Elijaha Wooda.

Mladi glumac skriven je iza brčića da uopće ne prepoznajemo dragog hobita Froda iz blockbusterske trilogije "Gospodar prstenova". Wood glumi Norvala, uspješnog milenijalca, DJ-a i producenta koji odlazi u posjet ocu, na očev nagovor u obliku pisma, 30 godina nakon što ga je ovaj napustio.

Jednom kad mu pokuca na vrata, u kući bogu iza nogu, otac (Stephen McHattie) djeluje iznenađeno i pokazuje da mu baš i nije stalo do njegova posjeta, kao da je – misli Norval – napisao pismo u pijanom stanju, ako ga je uopće napisao. U tom času izgleda da će film biti obiteljska, generacijska i karakterna "father-son" drama iz sfere (američkih) nezavisnjaka o disfunkcionalnim familijama, odnosno "reunionu" razmetnih sinova i(li) otuđenih očeva sklonih piću.

Doznajemo da je Norval "mamin sin" i da je imao problem s alkoholom zbog čega više ne pije. Naglašenim sipanjem vina u svoju čašu otac provocira sina i hvata ga u laži – da je blizak s poznatim facama poput Eltona Johna, s čime se Norval kočoperi kako bi ga zadivio, kao i sa "dizajnerskim" zlatnim mobitelom poznatog glazbenika, jednim od 20 na cijelom svijetu.

"Ni ja ne znam Eltona, ali znamo da sereš", prospe otac nedugo nakon što mu je sinov mobitel nehotice iskliznuo iz ruke i pao u more ("Sad ih ima 19 na cijelom svijetu"). Postupno dijabolično izgledajući otac postaje sve agresivniji, zamalo pogađa sina kamenom koji baci u more i nije mu baš za vjerovati kad uzme sataru u ruke, a i atmosfera je sve čudnija i napetija.

Otac svake večeri priča s nekim na telefon. "On je mrtav, ne želim biti njegov babysitter", čujemo kad naćulimo uši s Norvalom. Nešto ovdje ne štima, samo što? Što se, kvragu, događa? Je li u međuvremenu otac pukao u izolaciji, došao nadomak ubojice? Hoćemo li gledati svojevrsnu "Misery" s ocem i sinom?

Teško je predvidjeti kamo film ide, posebice kad doznamo da kuća skriva neke tajne i Norval počinje čuti jezive zvukove usred noći iz kvazi-nadnaravnog "haunted house" horora. Da Norval možda ne puca po šavu nakon što se od stresa nanovo okrene cugi? Pojava nekih sumnjivih tipova iz očeve prošlosti prizemljuje navodni nadnaravni horor i pretvara "Dođi k tatici" u "coenovski" i "tarantinovski" komad "blood and guts" krimi-trilera s hororski poremećenim humorom i još poremećenijom logikom. 

Takva logika je iskazana u dijalogu "Nisam spreman za ovo, nisam ubojica. Ubio si nekog prije doslovno pet minuta...". Na momente su stvari toliko nevjerojatne pa film naizgled preuzima logiku sna ili košmara, kao u sceni Narvalova šuljanja po sobi motela pored kreveta s usnulim sudionicima orgije.

No, stvari funkcioniraju zato što Timpson povezuje multižanrovsku tenziju i neobično dirljivu emociju melodrame o pomirbi oca i sina. Timpson režira film na granici logike (sna) i ivici sjekire, tj. satare i svega oštrog/ubojitoga što Narvalu dođe pod ruku kako bi se obranio i izmirio s ocem. Do izmirenja bi moglo doći, ali ne kako su on i gledatelji zamišljali.

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Bijeg od Froda

Elijah Wood već godinama pokušava i uspijeva izaći iz sjene Froda igranjem netipičnih uloga. Sjetimo ga se, recimo, u "Sin Cityju" i "Maniacu". Opet, horor mu je u krvi još od malena ("The Good Son" s Macualayjem Culkinom).

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Film & TVCINEMARK NA FESTIVALU

DOĐI K TATICI Tata od satara formata

Piše Marko Njegić
16. srpnja 2020. - 15:20
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Ugodno iznenađenje od filma i film pun iznenađenja. Sve to je "Dođi k tatici". Iznenađenje jedno za drugim i trećim čeka filmofile u potencijalnom kultu koji ima hrvatsku premijeru ovog četvrtka na Fantastic Zagreb Film Festivalu. Fantastic je festival žanrovskog filma, jedini u Hrvatskoj, a "Come To Daddy" je punokrvni žanrovski film, bolje reći – transžanrovski.

Dugometražni prvijenac novozelandskog filmaša Anta Timpsona teško je uopće kategorizirati. Recimo da je to crnohumorni horor triler s elementima obiteljske drame ili obiteljska drama s elementima mračno-komičnog hororskog "thrillera". Film se odbija trajno nastaniti u jednom žanru i svako malo mijenja žanrovske brzine, iz niže u višu i natrag.

Međutim, Timpsonovo međužanrovsko balansiranje najvećim je dije...

#CINEMARK#CINEMARK NA FESTIVALU#HORORFILMOVI#CRNOHUMORNI TRILERI
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14. svibanj 2024 00:09