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Psihologizacija policijskih filmova ili "policiera" u francuskoj kinematografiji je doživjela vrhunac u sedamdesetima. Melvilleov "Policajac" je psihološki rastezao akcijski/kriminalističko-trilerski podžanr, ali na način da to još uvijek bude ponajprije komad žanrovskog pa tek onda umjetničkog filma.

Dekadama kasnije, umjetnički film se, popularnošću festivala poput Cannesa, Berlina, Venecije i Sundancea, češće naziva festivalskim, a još uvijek koketira s žanrom. Tako, nešto slično poput Melvillea, samo obratno, radi redateljica Anne Fontaine u filmu "Noćna smjena" ("Night Shift"/"Police") koji je imao premijeru na Berlinaleu, a od ove subote je premijerno i u okvirima hrvatske distribucije na programu splitske "Kinoteke".

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FILM: Police; drama; Francuska, 2020. REŽIJA: Anne Fontaine ULOGE: Virginie Efira, Omar Sy OCJENA: *** ½

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Fontaine odlazi do ekstrema u dramskom rastezanju psihologije policijskog filma. Naime, "Noćna smjena" je "policier" bez ispaljenog metka, policijska drama s naglaskom na "drama". Redateljica feminističkih filmova "Coco prije Chanel" i "Nevine" snimila je jedan od svedenijih "policierova", ravnopravnim dijelom sagledan i ženskim očima, čiji se zaplet takoreći može ispričati u jednoj rečenici, ali karakterizacija likova ne stane u toliko prostora.

Ukratko, troje policajaca, Virginie, Aristide i Erik (Virginie Efira, Omar Sy, Grégory Gadebois), dobiva zadatak da u noćnoj šihti deportira tažikistandskog imigranta, tj. prebaci ga do aerodroma "Charles de Gaulle". Šire, svaki policajac ima svoje privatne probleme, a neki su i zajednički.

Plavokosa Virginie je sedam godina u braku i nije spavala 18 mjeseci nakon rođenja djeteta, što je čini hladnom i distantnom na poslu, gdje je Aristide zove "miss Norveške". Tamnoputi Aristide je na površini mačo šaljivac koji pod tom maskom skriva PTSP od jedne policijske akcije sa smrtnom posljedicom.

Sredovječni Erik je, pak, alkoholičar nesređenog braka. Pojedinačno su karakterni stereotipi iz (ne samo) policijskih filmova, ali zajedno funkcioniraju i interaktiraju bolje kad ih Fontaine negdje na polovici filma smjesti u automobil za transport ilegalnog imigranta i pusti da tenzije porastu.

Jer, nedugo prije nego što policajci uđu u auto, doznajemo kako su Virginie i Aristide ljubavnici, da je ona jedan put zaboravila popiti pilulu i da je zatrudnjela s njegovim djetetom i planira pobaciti jutro nakon noćne smjene. Njihova ljubavnička drama prelama se s imigrantskom kad pokupe Tohirova (iranski glumac Payman Maadi, poznat po ulozi u oskarovcu "Nader i Simin se rastaju").

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Tohirov je predstavljen kao zatvorenik s žiletom u ustima kojim je prije htio nauditi sebi, nego nekom drugom, a ubrzo otkrivamo da je bio mučen i da će ga po povratku u rodnu zemlju vjerojatno ubiti. I eto (moralne) dileme. Je li Tohirov izbjeglica ili terorist, odnosno je li u Parizu u bijegu od domovine ili je možda došao dignuti nešto u zrak?

Erik sumnja u potonje, dok Virginie i Aristide drže da je nevin i razmatraju da zažmire na jedno oko i puste Tohirova. Svakako, nastaje raskol između moralne i profesionalne dužnosti među troje ljudi, što automobil pretvara u mjesto verbalnog konflikta policajaca sa i bez savjesti.

Ovakvo dramsko, karakterno i prostorno svođenje "policiera" (šačica likova, auto kao jedna pokretna lokacija) prilično je intrigantno, posebice što je Tohirov nijem i funkcionira kao nijemi svjedok tretmana Zapada prema izbjeglicama. "Night Shift" želi reći nešto politički, i to je u redu.

Naprotiv, film bi, ovako postavljen, možda bio i izvrstan da Fontaine, kontradiktorno, prekomjerno sporogorećom dramom remeti trilerski intenzitet priče i ide dužim putem do potencijalnog rješenja problema da bi se najednom naglo poslužila prečacem. "Ja sam policajac, nisam ovdje da napišem roman", rekao je u jednoj od uvodnih scena Aristide.

Međutim, Fontaine ponekad režira kao da (život) piše policijski roman, a ruka joj znade biti teška. Ipak, unatoč nekim zamjerkama, njezin dojmljivo glumljeni film (prednjači Efira) vrlo je solidan prilog francuskom policijskom žanru i hrvatskom kinorepertoaru. "Noćna smjena" je gotova.

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Virginie kao Bendetta

Ove godine bismo napokon trebali vidjeti Virginie Efiru u nestrpljivo očekivanom filmu "Bendetta" Paula Verhoevena koji je trebao imati premijeru na prošlogodišnjem odgođenom Cannesu. P.S. Za publiku izvan Splita, "Noćna smjena" je upravo postala dostupna za gledanje u "A1 Videoteci".

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Psihologizacija policijskih filmova ili "policiera" u francuskoj kinematografiji je doživjela vrhunac u sedamdesetima. Melvilleov "Policajac" je psihološki rastezao akcijski/kriminalističko-trilerski podžanr, ali na način da to još uvijek bude ponajprije komad žanrovskog pa tek onda umjetničkog filma.

Dekadama kasnije, umjetnički film se, popularnošću festivala poput Cannesa, Berlina, Venecije i Sundancea, češće naziva festivalskim, a još uvijek koketira s žanrom. Tako, nešto slično poput Melvillea, samo obratno, radi redateljica Anne Fontaine u filmu "Noćna smjena" ("Night Shift"/"Police") koji je imao premijeru na Berlinaleu, a od ove subote je premijerno i u okvirima hrvatske distribucije na programu splitske "Kinoteke".

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FILM: Police; drama; Francuska, 2020. REŽIJA: Anne Fontaine ULOGE: Virginie Efira, Omar Sy OCJENA: *** ½

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Fontaine odlazi do ekstrema u dramskom rastezanju psihologije policijskog filma. Naime, "Noćna smjena" je "policier" bez ispaljenog metka, policijska drama s naglaskom na "drama". Redateljica feminističkih filmova "Coco prije Chanel" i "Nevine" snimila je jedan od svedenijih "policierova", ravnopravnim dijelom sagledan i ženskim očima, čiji se zaplet takoreći može ispričati u jednoj rečenici, ali karakterizacija likova ne stane u toliko prostora.

Ukratko, troje policajaca, Virginie, Aristide i Erik (Virginie Efira, Omar Sy, Grégory Gadebois), dobiva zadatak da u noćnoj šihti deportira tažikistandskog imigranta, tj. prebaci ga do aerodroma "Charles de Gaulle". Šire, svaki policajac ima svoje privatne probleme, a neki su i zajednički.

Plavokosa Virginie je sedam godina u braku i nije spavala 18 mjeseci nakon rođenja djeteta, što je čini hladnom i distantnom na poslu, gdje je Aristide zove "miss Norveške". Tamnoputi Aristide je na površini mačo šaljivac koji pod tom maskom skriva PTSP od jedne policijske akcije sa smrtnom posljedicom.

Sredovječni Erik je, pak, alkoholičar nesređenog braka. Pojedinačno su karakterni stereotipi iz (ne samo) policijskih filmova, ali zajedno funkcioniraju i interaktiraju bolje kad ih Fontaine negdje na polovici filma smjesti u automobil za transport ilegalnog imigranta i pusti da tenzije porastu.

Jer, nedugo prije nego što policajci uđu u auto, doznajemo kako su Virginie i Aristide ljubavnici, da je ona jedan put zaboravila popiti pilulu i da je zatrudnjela s njegovim djetetom i planira pobaciti jutro nakon noćne smjene. Njihova ljubavnička drama prelama se s imigrantskom kad pokupe Tohirova (iranski glumac Payman Maadi, poznat po ulozi u oskarovcu "Nader i Simin se rastaju").

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Tohirov je predstavljen kao zatvorenik s žiletom u ustima kojim je prije htio nauditi sebi, nego nekom drugom, a ubrzo otkrivamo da je bio mučen i da će ga po povratku u rodnu zemlju vjerojatno ubiti. I eto (moralne) dileme. Je li Tohirov izbjeglica ili terorist, odnosno je li u Parizu u bijegu od domovine ili je možda došao dignuti nešto u zrak?

Erik sumnja u potonje, dok Virginie i Aristide drže da je nevin i razmatraju da zažmire na jedno oko i puste Tohirova. Svakako, nastaje raskol između moralne i profesionalne dužnosti među troje ljudi, što automobil pretvara u mjesto verbalnog konflikta policajaca sa i bez savjesti.

Ovakvo dramsko, karakterno i prostorno svođenje "policiera" (šačica likova, auto kao jedna pokretna lokacija) prilično je intrigantno, posebice što je Tohirov nijem i funkcionira kao nijemi svjedok tretmana Zapada prema izbjeglicama. "Night Shift" želi reći nešto politički, i to je u redu.

Naprotiv, film bi, ovako postavljen, možda bio i izvrstan da Fontaine, kontradiktorno, prekomjerno sporogorećom dramom remeti trilerski intenzitet priče i ide dužim putem do potencijalnog rješenja problema da bi se najednom naglo poslužila prečacem. "Ja sam policajac, nisam ovdje da napišem roman", rekao je u jednoj od uvodnih scena Aristide.

Međutim, Fontaine ponekad režira kao da (život) piše policijski roman, a ruka joj znade biti teška. Ipak, unatoč nekim zamjerkama, njezin dojmljivo glumljeni film (prednjači Efira) vrlo je solidan prilog francuskom policijskom žanru i hrvatskom kinorepertoaru. "Noćna smjena" je gotova.

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Virginie kao Bendetta

Ove godine bismo napokon trebali vidjeti Virginie Efiru u nestrpljivo očekivanom filmu "Bendetta" Paula Verhoevena koji je trebao imati premijeru na prošlogodišnjem odgođenom Cannesu. P.S. Za publiku izvan Splita, "Noćna smjena" je upravo postala dostupna za gledanje u "A1 Videoteci".

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StoryEditorOCM
Film & TVCINEMARK U KINU

‘Noćna smjena‘: ‘Policier‘ bez ispaljenog metka

Piše Marko Njegić
19. veljače 2021. - 23:36
16908900
PREMIUM
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Psihologizacija policijskih filmova ili "policiera" u francuskoj kinematografiji je doživjela vrhunac u sedamdesetima. Melvilleov "Policajac" je psihološki rastezao akcijski/kriminalističko-trilerski podžanr, ali na način da to još uvijek bude ponajprije komad žanrovskog pa tek onda umjetničkog filma.

Dekadama kasnije, umjetnički film se, popularnošću festivala poput Cannesa, Berlina, Venecije i Sundancea, češće naziva festivalskim, a još uvijek koketira s žanrom. Tako, nešto slično poput Melvillea, samo obratno, radi redateljica Anne Fontaine u filmu "Noćna smjena" ("Night Shift"/"Police") koji je imao premijeru na Berlinaleu, a od ove subote je premijerno i u okvirima hrvatske distribucije na programu splitske "Kinoteke".

Fontaine odlazi do ekstrema u dramskom...

#CINEMARK#CINEMARK U KINU #FRANCUSKI FILM#VIRGINIE EFIRA#OMAR SY#POLICIJSKI FILMOVI
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