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[title] => LILLIAN Film izgubljene ceste od New Yorka do Rusije
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Kronikom polaganog nestajanja nazvao je austrijski redatelj Andreas Horvath svoj igranofilmski prvijenac "Lillian" koji je nakon premijere na prošlom Cannesu konačno stigao u hrvatske "online" videoteke. Film je na odjavnoj špici posvećen Lillian Alling, istočnoeuropskoj emigrantici koja je krajem dvadesetih godina prošlog stoljeća nestala dok je pokušala propješačiti od New Yorka do Rusije.
Nestajanje se tiče nesretne Lillian, ali i ne samo nje. Ambijentiravši "Lillian" u današnju Trumpovu Ameriku, Horvath govori i o nestajanju "američkog sna". Dakle, titularna Lillian nije nužno "prava" Lillian, no dijeli njezino ime i otiskuje se na sličnu dugu odiseju kroz Ameriku, samo u moderno doba.
---
FILM: Lillian; drama; Austrija, 2019. REŽIJA: Andreas Horvath ULOGE: Patrycja Planik OCJENA: ***
---
Modernost se ističe u uvodnim minutama kad Lillian (glumi je Patrycja Planik, poljska video-umjetnica nalik manekenki) dolazi na razgovor za posao u - pornoindustriji.
Na ekranima u podlozi njezina razgovora s newyorškim producentom "filmova za odrasle" vrte se nastrani kadrovi koje kao da je režirao glasoviti (i zloglasni) austrijski dokumentarist Ulrich Seidl ili da su posrijedi izbačene scene iz njegovog dokumentarca "U podrumu".
Horvath se i sam proslavio dokumentarcima kao što je "Helmut Berger, glumac", prikazan na STFF-u, a njegov zemljak Seidl je producent "Lillian" pa to ima "unutarnjeg smisla", koliko god sekvencija djelovala umetnutom čisto da film u startu dobije nekakav "shock value". Uglavnom, producent odbija Lillian koja je na razgovor došla naružana seksi fotografijama.
"Fotke su ti u redu, ali za modnu agenciju, mi snimamo 'hard core' porno filmove", precizira producent i navodi ekstra razlog odbijanja - istekla joj je američka viza prije pola godine, a on ne može uzeti ljude s ulice poput nje koji, k tome, ne govore engleski.
"Da sam na tvom mjestu vratio bih se u Rusiju", predlaže producent. Lillian njegove riječi shvaća doslovno i, u besparici da to napravi nekim prijevoznim sredstvom, odluči se u Rusiju zaputiti - pješke, baš kao nekoć davno njezina sunarodnjakinja i imenjakinja.
Pomalo naivno, s obzirom da u današnje vrijeme hiper-informacija i ptice na grani znaju koliko je to nemoguća misija, ako već nekome nije bilo jasno stotinjak godina ranije. No, suzbijamo "suspenziju nevjerice" i krećemo na put s Lillian jer bez njezina putovanja nema filma. Putovanje jest film kojeg Horvath snima kao "road movie" ne autom, nego "auto-tabanićima".
Pješačkom filmu ceste Horvath pristupa gotovo kao dokumentarcu sa spontanim pristupom u scenariju, režiji i glumi debitantice koja u ulozi iseljenice na transameričkoj ruti ne izgovara nijednu jedinu riječ i nema nikakvu karakterizaciju, što je čini odveć distanciranom za kakvu-takvu identifikaciju.
Scenarij, ako je uopće postojao, djeluje improvizatorski, kao i cijeli film dobrim dijelom. Izgleda da se Horvath, poput Lillian, otisnuo na put bez kompasa pa gdje završi. To doprinosi prizornoj i inoj autentičnosti, ali istovremeno daje povoda redatelju da razvlači pojedine nezanimljivije etape putovanja kako bi postigao "životnost" i realizam, iskazan i u sceni kad Lillian dobije menstruaciju.
Ipak, putovanje daje pretežno interesantan, premda ne uvijek suptilan kritički pogled jednog autsajdera na američko društvo i prirodu. Kamera govori umjesto nijeme Lillian koja djeluje kao beskućnica lutajući od jedne države do druge, od jednog usnulog ili napuštenog gradića do drugog, usred ničega ili kilometrima daleko od svega, pa je malo tko uopće i primjećuje.
Rijetku i minimalnu interakciju ima s klincima na proslavi Dana nezavisnosti, jednim muškarcem koji je probudio silovatelja u sebi i hvatao je kroz kukuruzište, odnosno lokalnim šerifom koji je isprve bio sumnjičav prema njoj da bi joj na koncu podario svoju jaknu za hladne noći.
Kako Lillian ide sve dalje na zapad, gdje je "sve opasnije", krajobrazi su sve spektakularniji (pješčani dvorci), a boje sve ispranije da se čini kako je film snimljen na istočnoeuropskim lokacijama. Slika Amerike gubi kolorit dok se putovanje bliži kraju i "Lillian" postaje film izgubljene ceste. Road to nowhere movie.
---
Režiser kao producent
Ulrich Seidl već neko vrijeme producira i tuđe, ne samo svoje filmove. Producirao je npr. horor "Laku noć, mamice" dua Fial-Franz i "Casanova Variations" s Johnom Malkovichem u glavnoj ulozi.
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Kronikom polaganog nestajanja nazvao je austrijski redatelj Andreas Horvath svoj igranofilmski prvijenac "Lillian" koji je nakon premijere na prošlom Cannesu konačno stigao u hrvatske "online" videoteke. Film je na odjavnoj špici posvećen Lillian Alling, istočnoeuropskoj emigrantici koja je krajem dvadesetih godina prošlog stoljeća nestala dok je pokušala propješačiti od New Yorka do Rusije.
Nestajanje se tiče nesretne Lillian, ali i ne samo nje. Ambijentiravši "Lillian" u današnju Trumpovu Ameriku, Horvath govori i o nestajanju "američkog sna". Dakle, titularna Lillian nije nužno "prava" Lillian, no dijeli njezino ime i otiskuje se na sličnu dugu odiseju kroz Ameriku, samo u moderno doba.
---
FILM: Lillian; drama; Austrija, 2019. REŽIJA: Andreas Horvath ULOGE: Patrycja Planik OCJENA: ***
---
Modernost se ističe u uvodnim minutama kad Lillian (glumi je Patrycja Planik, poljska video-umjetnica nalik manekenki) dolazi na razgovor za posao u - pornoindustriji.
Na ekranima u podlozi njezina razgovora s newyorškim producentom "filmova za odrasle" vrte se nastrani kadrovi koje kao da je režirao glasoviti (i zloglasni) austrijski dokumentarist Ulrich Seidl ili da su posrijedi izbačene scene iz njegovog dokumentarca "U podrumu".
Horvath se i sam proslavio dokumentarcima kao što je "Helmut Berger, glumac", prikazan na STFF-u, a njegov zemljak Seidl je producent "Lillian" pa to ima "unutarnjeg smisla", koliko god sekvencija djelovala umetnutom čisto da film u startu dobije nekakav "shock value". Uglavnom, producent odbija Lillian koja je na razgovor došla naružana seksi fotografijama.
"Fotke su ti u redu, ali za modnu agenciju, mi snimamo 'hard core' porno filmove", precizira producent i navodi ekstra razlog odbijanja - istekla joj je američka viza prije pola godine, a on ne može uzeti ljude s ulice poput nje koji, k tome, ne govore engleski.
"Da sam na tvom mjestu vratio bih se u Rusiju", predlaže producent. Lillian njegove riječi shvaća doslovno i, u besparici da to napravi nekim prijevoznim sredstvom, odluči se u Rusiju zaputiti - pješke, baš kao nekoć davno njezina sunarodnjakinja i imenjakinja.
Pomalo naivno, s obzirom da u današnje vrijeme hiper-informacija i ptice na grani znaju koliko je to nemoguća misija, ako već nekome nije bilo jasno stotinjak godina ranije. No, suzbijamo "suspenziju nevjerice" i krećemo na put s Lillian jer bez njezina putovanja nema filma. Putovanje jest film kojeg Horvath snima kao "road movie" ne autom, nego "auto-tabanićima".
Pješačkom filmu ceste Horvath pristupa gotovo kao dokumentarcu sa spontanim pristupom u scenariju, režiji i glumi debitantice koja u ulozi iseljenice na transameričkoj ruti ne izgovara nijednu jedinu riječ i nema nikakvu karakterizaciju, što je čini odveć distanciranom za kakvu-takvu identifikaciju.
Scenarij, ako je uopće postojao, djeluje improvizatorski, kao i cijeli film dobrim dijelom. Izgleda da se Horvath, poput Lillian, otisnuo na put bez kompasa pa gdje završi. To doprinosi prizornoj i inoj autentičnosti, ali istovremeno daje povoda redatelju da razvlači pojedine nezanimljivije etape putovanja kako bi postigao "životnost" i realizam, iskazan i u sceni kad Lillian dobije menstruaciju.
Ipak, putovanje daje pretežno interesantan, premda ne uvijek suptilan kritički pogled jednog autsajdera na američko društvo i prirodu. Kamera govori umjesto nijeme Lillian koja djeluje kao beskućnica lutajući od jedne države do druge, od jednog usnulog ili napuštenog gradića do drugog, usred ničega ili kilometrima daleko od svega, pa je malo tko uopće i primjećuje.
Rijetku i minimalnu interakciju ima s klincima na proslavi Dana nezavisnosti, jednim muškarcem koji je probudio silovatelja u sebi i hvatao je kroz kukuruzište, odnosno lokalnim šerifom koji je isprve bio sumnjičav prema njoj da bi joj na koncu podario svoju jaknu za hladne noći.
Kako Lillian ide sve dalje na zapad, gdje je "sve opasnije", krajobrazi su sve spektakularniji (pješčani dvorci), a boje sve ispranije da se čini kako je film snimljen na istočnoeuropskim lokacijama. Slika Amerike gubi kolorit dok se putovanje bliži kraju i "Lillian" postaje film izgubljene ceste. Road to nowhere movie.
---
Režiser kao producent
Ulrich Seidl već neko vrijeme producira i tuđe, ne samo svoje filmove. Producirao je npr. horor "Laku noć, mamice" dua Fial-Franz i "Casanova Variations" s Johnom Malkovichem u glavnoj ulozi.
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11. svibanj 2024 05:16
