SD Dojavi
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Kontekst je potreban za bolje razumijevanje priče palestinskog filma "Hudin salon" ("Huda's Salon"), utemeljenog na istinitim doģađajima. Redatelj i scenarist Hany Abu-Assad, poznat po filmovima nominiranim za Oscara "Paradise Now" i "Omar", odmah na početku skicira da je radnja postavljena u Betlehem, na Zapadnu obalu okupirane Palestine koja je pod okupacijom od 1967. godine.

Natpisi informiraju gledatelja da je 2002. okupacijska vlast započela s izgradnjom Separacijskog zida oko grada, da su izgradnjom tog zida okupatorski vojnici postali nevidljivi, a stanovnici, osobito žene, ranjiviji, te da Palestinci koji napuštaju Zapadnu obalu, ili ulaze u nju, moraju imati dozvolu Okupatorske tajne službe.

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FILM: Huda's Salon; politički triler; Palestina, 2021. REŽIJA: Hany Abu-Assad ULOGE: Maisa Abd Elhadi, Manal Awad DISTRIBUCIJA: MCF – MegaCom Film OCJENA: *** ½

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Sve to je ispisano na ekranu u otvaranju "Hudina salona", a kao ključne riječi uvodnog natpisa, i filma uopće, promeću se "okupacija", "ranjive žene" i "okupatorska tajna služba". Frizerski salon iz naslova, u vlasništvu Hude (Manal Awad), nalazi se na okupiranom teritoriju nedaleko zida i u njega ulazi mlada majka Reem (Maisa Abd Elhadi) s bebom.

Reem je jedina Hudina mušterija i žene započinju čavrljanje o svemu i svačemu kao u svakom frizerskom salonu, životima, muževima... Gledatelj je, kao Reem, udobno zavaljen u Hudin stolac i uvjeren da će prisustvovati dramskom isječku iz ordinarne svakodnevice palestinskog života, s fokusom na žene i frizerskim salonom kao njihovom utočištu od muškog svijeta, možda nekakav Abu-Assadov odgovor na "U mojim godinama još skrivam da pušim".

Međutim, spokoj neprekinutog desetominutnog kadra biva neočekivano narušen kad Huda pripravi kavu za Reem i kapne u napitak nešto što nije sladilo. Najednom, omamljena Reem se požali da je boli glava i zaklopi oči. Huda poziva mladog muškarca iz druge sobe i njih dvoje prebace uspavanu Reem na postelju, gdje je svuku do gola i fotografiraju u kompromitirajućim pozama dok njezino djetešce plače u pozadini kadra.

U tom trenu u frizerski salon se uvlači političko-špijunski triler. Kad Reem otvori oči, Huda je dočeka ponudom iz pakla koju ne može odbiti: "Želimo da radiš za nas". Ona, Huda, radi za okupatorsku tajnu službu i regrutira djevojke poput Reem koju ucjenjivački vrbuje da postane "izdajica", a to je nešto najgore što netko u okupiranoj zajednici može postati.

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"Ne možeš ništa napraviti. Ako kažeš mužu ili ikome, tajna služba će biti nemilosrdna", govori Huda i traži od nje da je nazove ako ima "neku korisnu informaciju". Nakon svega, Huda usputno pita Reem da joj dovrši frizuru, kao da se ništa nije dogodilo. Scena je značajna zato što Abu-Assad na sličan način pokušava nevidljivim rezom povezati životnu dramu i politički triler na mikro i makro planu, raspoređene na dva narativa.

"Huda's Salon" je uspjeliji u ovom prvom, dok je fokusiran na ranjivu Reem u fragilnoj situaciji koju još fragilnijom čini što je majka malog djeteta. Mlada žena mora kriti što se događa od ionako nepovjerljivog i kontrolirajućeg muža (Jalal Masarwa), praveći da se da je sve u redu, iako nije i stres se sve više formira na njezinom lijepom licu.

Abu-Assad tu slika dojmljivu sliku majčinstva pod dvostrukom okupacijom na platnu političkog trilera kojemu, međutim, nedostaje istinske napetosti da bi tako žanrirani film bio uzbudljiviji/bolji i do kraja ispunio potencijal. Tenzije su rascjepkane zbog paralelne naracije jer u isti mah pratimo i raskrinkanu Hudu u rukama palestinskog operativca i borca za slobodu Hasana (Ali Suliman) koji ispituje zatočenu frizerku i želi doznati imena njezinih regrutkinja.

Veći dio filma otpada na statično ispitivanje i to usporava priču, a tijekom preskakanja s jednog na drugi narativni kolosijek Abu-Assad se ne dočeka uvijek na noge, dok je i njegova redateljska ruka povremeno teška u pogledu politike. Premda, jasno je što je Abu-Assad htio postići istodobnim prikazom doslovno (Huda) i simbolično (Reem) zatočene žene u okupiranom gradu gdje je "svatko neprijatelj", a žene su, podsjetimo, "ranjivije".

"Zar misliš da živimo u Švedskoj", Hasana pita Huda koja svoj posao vidi kao profeministički. "Rad za tajnu službu dao je tim djevojkama osjećaj snage, usprotivile su se muževima jednom kad su dobile malo hrabrosti", kaže Huda. Pitanje je da li se Reem slaže li s tim.

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Abu-Assad i Suliman

Izraelski glumac Ali Suliman je glumio i u redateljevom "Raju na zemlji", a sigurno ste ga zapazili i u nekom hollywoodskom filmu, recimo "Tijelu od laži", "Jedinom preživjelom" ili seriji "Jack Ryan". I Abu-Assad se okušao u hollywoodskom filmu, na "Planini između nas" s Kate Winslet i Idrisom Elbom.

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Kontekst je potreban za bolje razumijevanje priče palestinskog filma "Hudin salon" ("Huda's Salon"), utemeljenog na istinitim doģađajima. Redatelj i scenarist Hany Abu-Assad, poznat po filmovima nominiranim za Oscara "Paradise Now" i "Omar", odmah na početku skicira da je radnja postavljena u Betlehem, na Zapadnu obalu okupirane Palestine koja je pod okupacijom od 1967. godine.

Natpisi informiraju gledatelja da je 2002. okupacijska vlast započela s izgradnjom Separacijskog zida oko grada, da su izgradnjom tog zida okupatorski vojnici postali nevidljivi, a stanovnici, osobito žene, ranjiviji, te da Palestinci koji napuštaju Zapadnu obalu, ili ulaze u nju, moraju imati dozvolu Okupatorske tajne službe.

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FILM: Huda's Salon; politički triler; Palestina, 2021. REŽIJA: Hany Abu-Assad ULOGE: Maisa Abd Elhadi, Manal Awad DISTRIBUCIJA: MCF – MegaCom Film OCJENA: *** ½

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Sve to je ispisano na ekranu u otvaranju "Hudina salona", a kao ključne riječi uvodnog natpisa, i filma uopće, promeću se "okupacija", "ranjive žene" i "okupatorska tajna služba". Frizerski salon iz naslova, u vlasništvu Hude (Manal Awad), nalazi se na okupiranom teritoriju nedaleko zida i u njega ulazi mlada majka Reem (Maisa Abd Elhadi) s bebom.

Reem je jedina Hudina mušterija i žene započinju čavrljanje o svemu i svačemu kao u svakom frizerskom salonu, životima, muževima... Gledatelj je, kao Reem, udobno zavaljen u Hudin stolac i uvjeren da će prisustvovati dramskom isječku iz ordinarne svakodnevice palestinskog života, s fokusom na žene i frizerskim salonom kao njihovom utočištu od muškog svijeta, možda nekakav Abu-Assadov odgovor na "U mojim godinama još skrivam da pušim".

Međutim, spokoj neprekinutog desetominutnog kadra biva neočekivano narušen kad Huda pripravi kavu za Reem i kapne u napitak nešto što nije sladilo. Najednom, omamljena Reem se požali da je boli glava i zaklopi oči. Huda poziva mladog muškarca iz druge sobe i njih dvoje prebace uspavanu Reem na postelju, gdje je svuku do gola i fotografiraju u kompromitirajućim pozama dok njezino djetešce plače u pozadini kadra.

U tom trenu u frizerski salon se uvlači političko-špijunski triler. Kad Reem otvori oči, Huda je dočeka ponudom iz pakla koju ne može odbiti: "Želimo da radiš za nas". Ona, Huda, radi za okupatorsku tajnu službu i regrutira djevojke poput Reem koju ucjenjivački vrbuje da postane "izdajica", a to je nešto najgore što netko u okupiranoj zajednici može postati.

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"Ne možeš ništa napraviti. Ako kažeš mužu ili ikome, tajna služba će biti nemilosrdna", govori Huda i traži od nje da je nazove ako ima "neku korisnu informaciju". Nakon svega, Huda usputno pita Reem da joj dovrši frizuru, kao da se ništa nije dogodilo. Scena je značajna zato što Abu-Assad na sličan način pokušava nevidljivim rezom povezati životnu dramu i politički triler na mikro i makro planu, raspoređene na dva narativa.

"Huda's Salon" je uspjeliji u ovom prvom, dok je fokusiran na ranjivu Reem u fragilnoj situaciji koju još fragilnijom čini što je majka malog djeteta. Mlada žena mora kriti što se događa od ionako nepovjerljivog i kontrolirajućeg muža (Jalal Masarwa), praveći da se da je sve u redu, iako nije i stres se sve više formira na njezinom lijepom licu.

Abu-Assad tu slika dojmljivu sliku majčinstva pod dvostrukom okupacijom na platnu političkog trilera kojemu, međutim, nedostaje istinske napetosti da bi tako žanrirani film bio uzbudljiviji/bolji i do kraja ispunio potencijal. Tenzije su rascjepkane zbog paralelne naracije jer u isti mah pratimo i raskrinkanu Hudu u rukama palestinskog operativca i borca za slobodu Hasana (Ali Suliman) koji ispituje zatočenu frizerku i želi doznati imena njezinih regrutkinja.

Veći dio filma otpada na statično ispitivanje i to usporava priču, a tijekom preskakanja s jednog na drugi narativni kolosijek Abu-Assad se ne dočeka uvijek na noge, dok je i njegova redateljska ruka povremeno teška u pogledu politike. Premda, jasno je što je Abu-Assad htio postići istodobnim prikazom doslovno (Huda) i simbolično (Reem) zatočene žene u okupiranom gradu gdje je "svatko neprijatelj", a žene su, podsjetimo, "ranjivije".

"Zar misliš da živimo u Švedskoj", Hasana pita Huda koja svoj posao vidi kao profeministički. "Rad za tajnu službu dao je tim djevojkama osjećaj snage, usprotivile su se muževima jednom kad su dobile malo hrabrosti", kaže Huda. Pitanje je da li se Reem slaže li s tim.

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Abu-Assad i Suliman

Izraelski glumac Ali Suliman je glumio i u redateljevom "Raju na zemlji", a sigurno ste ga zapazili i u nekom hollywoodskom filmu, recimo "Tijelu od laži", "Jedinom preživjelom" ili seriji "Jack Ryan". I Abu-Assad se okušao u hollywoodskom filmu, na "Planini između nas" s Kate Winslet i Idrisom Elbom.

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Film & TVCINEMARK NA FESTIVALU

‘Hudin salon‘: Frizeraj iz pakla

Piše Marko Njegić
17. lipnja 2022. - 17:59
22430316
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Kontekst je potreban za bolje razumijevanje priče palestinskog filma "Hudin salon" ("Huda's Salon"), utemeljenog na istinitim doģađajima. Redatelj i scenarist Hany Abu-Assad, poznat po filmovima nominiranim za Oscara "Paradise Now" i "Omar", odmah na početku skicira da je radnja postavljena u Betlehem, na Zapadnu obalu okupirane Palestine koja je pod okupacijom od 1967. godine.

Natpisi informiraju gledatelja da je 2002. okupacijska vlast započela s izgradnjom Separacijskog zida oko grada, da su izgradnjom tog zida okupatorski vojnici postali nevidljivi, a stanovnici, osobito žene, ranjiviji, te da Palestinci koji napuštaju Zapadnu obalu, ili ulaze u nju, moraju imati dozvolu Okupatorske tajne službe.

Sve to je ispisano na ekranu u otvaranju "Hudina salona", a kao ključne riječi...

#CINEMARK#CINEMARK NA FESTIVALU#PALESTINSKI FILMOVI#FMFS#FMFS 2022.#HANY ABU-ASSAD#MAISA ABD ELHADI#MANAL AWAD#ALI SULIMAN#FILMOVI PREMA ISTINITOJ PRIČI
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