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Dosad najbolji hrvatski film prikazan na 69. Pulskom festivalu je "Stric", dugometražni igrani prvijenac mladih redatelja Andrije Mardešića i Davida Kapca s Mikijem Manojlovićem, Ivanom Roščić, Goranom Bogdanom i Rokom Sikavicom u glavnim ulogama.

Ovakav film, mješavinu psihološkog trilera s elementima crne komedije, farse, drame pa i horora, hrvatska kinematografija još nije vidjela i netko bi ga lako mogao zamijeniti za grčki, austrijski, čak i američki spoj žanrovca i "art-house" festivalca.

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FILM: Stric; horor triler; Hrvatska, 2022. REŽIJA: Andrija Mardešić i David Kapac ULOGE: Miki Manojlović, Ivana Roščić OCJENA: ****

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Ne čudi da je "Stric" ili "The Uncle" imao premijeru na Karlovym Varyma kao nešto što je možda mogao snimiti rani Yorgos Lanthimos ("Očnjak") ili Michael Haneke ("Šašave igre").

Film posjeduje začudnost grčkog "čudnog vala", ali i uzvišenost novovalnih "elevated" horora s potpisom Jordana Peelea ("Bježi!", "Mi") ili dua Veronika Franz-Severin Fiala ("Laku noć, mamice"), iako horor ovdje prijeti ući u kadar kao daleka grmljavina koja možda i ne dođe blizu.

Mardešić i Kapac su svakako načitani filmofili i pokazali su sklonost žanrovskom filmu, ali i angažmanu Roščićke i Bogdana, kao redatelji i/li koscenaristi u kratkišima "Iris" (neo-noir) i "Zagorski specijalitet" (hrvatska verzija horora "Teksaški masakr motornom pilom").

U "Stricu" je primjetan i utjecaj filmova devedesetih koji su propitivali napisanu i izrežiranu stvarnost, od "Potpunog sjećanja", preko "Igre" do "Grada tame", "Trumanova showa" i "Matrixa". Rođeni 1985. i 1986., njihove formativne filmofilske godine bile su žanrovske devedesete koje su nadogradili novomilenijskim festivalskim artom, ali i vraćali se unatrag do osamdesetih, kad je Manojlović bio "otac na službenom putu", a sad je stric.

Glazba u "Stricu" je sintisajzerska na tragu onoga što je radio John Carpenter u osamdesetima, pale se pjesme Magazina, spominje se šoping u Trstu, lista se "Start" i gleda video ("vi-de-o"). Konačno, tu je i prepoznatljiviji Mercedes kojim se iz Njemačke, u posjet rodbini za Božić, dovozi gastarbajter, titularni i bezimeni Stric (Manojlović).

Da to nije običan posjet i da je ovo jedan neobičan film jasno je odmah na početku, kad se jedan tanjur padne na kuhinjski pod i Majka (Roščić) skuplja komadiće nožnim prstima koji proviruju iz rasparanih najlonki u krupnijem planu, i to tako da struže razbijenim dijelovima pokućstva po pločicama radeći "gricule".

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Atmosfera je blago rečeno čudna prije nego što autoritativni Stric dođe, a naročito kad stigne i njegova rodbina ga dočeka ispred kuće mašući. Otac familije (Bogan) je nervozan, dvadeset-i-nešto-godišnji Sin (Sikavica) ponaša se kao da je nedorasli pred-tinejdžer, Majka je pripremila polusirovu puricu, njezini kolači su crni kao ugljen i zagorjeli...

K tome, iako sve upućuje da se radnja odvija u osamdesetima, Stricu najednom zazvoni mobitel i on preuzme poziv iza zatvorenih vrata, daleko od ušiju ostalih ukućana. Taman kad gledatelj opazi prvi "glitch in the Matrix" i počne propitivati je li stvarnost filma stvarna ili konstruirana, Stric odlazi iz kuće, ali i ubrzo opet dolazi. I nanovo slična situacija.

Sve se vraća na početak. Mahanje za dobrodošlicu, purica..., ali atmosfera postaje sve čudnija, mračnija i košmarnija, s političkim, nacionalističkim podtonovima ("Nek se čuje hrvatska pjesma u ovoj tamnici naroda"). Stric snima familiju kamerom, naročito "nevistu" od koje traži da "izbaci malo nogu", a Majka pjeva odraslom Sinu uspavanku.

Kulminacija čudnosti dolazi u trenutku kad Stric iznenadi rodbinu zahtjevom da "otac stoji vani i puši dok mama u sobi vrišti", kao da su oni glumci, a on redatelj koji na licu mjesta mijenja unaprijed dogovorenu scenu iz scenarija. Tko je točno Stric? Zašto forsira obiteljsku idilu?

I zašto mu je bitno imati savršen Božić opet i iznova u "Groundhog Day" stilu pod svaku cijenu, makar pritom psihološki, potencijalno i fizički, terorizirao "rodbinu"? Redatelji škrtare na informacijama u filmu za koji nikad ne možete sa sigurnošću reći gdje vas vodi, intrigirajući mogućim odgovorima i umješno balansirajući između psihološke i fizičke tenzije unutar kuće.

A kad osnovna situacija zamalo postane repetitivna svakim idućim ponavljanjem, oni uvode neke nove elemente i preokrete iz scenarija te iznalaze svježa redateljska rješenja, tipa da likove snimaju u odrazima staklenih ploha poput vrata od pećnica ili da ostave kameru u automobilu koja sa stražnjeg sjedala promatra zbivanja dok se brisači bore protiv jake kiše i trude omogućiti jasan pogled kroz vjetrobransko staklo. "Stric" je jedan od najintrigantnijih i najnepredvidljivijih novijih hrvatskih filmova.

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Scenarij 'ispeglan' na radionici u Splitu

Scenarij za "Strica" je "ispeglan" u Splitu na radionici Razvana Radulescua. Direktor fotografije filma je Miloš Jaćimović koji je snimio "Oazu" Ivana Ikića.

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Dosad najbolji hrvatski film prikazan na 69. Pulskom festivalu je "Stric", dugometražni igrani prvijenac mladih redatelja Andrije Mardešića i Davida Kapca s Mikijem Manojlovićem, Ivanom Roščić, Goranom Bogdanom i Rokom Sikavicom u glavnim ulogama.

Ovakav film, mješavinu psihološkog trilera s elementima crne komedije, farse, drame pa i horora, hrvatska kinematografija još nije vidjela i netko bi ga lako mogao zamijeniti za grčki, austrijski, čak i američki spoj žanrovca i "art-house" festivalca.

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FILM: Stric; horor triler; Hrvatska, 2022. REŽIJA: Andrija Mardešić i David Kapac ULOGE: Miki Manojlović, Ivana Roščić OCJENA: ****

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Ne čudi da je "Stric" ili "The Uncle" imao premijeru na Karlovym Varyma kao nešto što je možda mogao snimiti rani Yorgos Lanthimos ("Očnjak") ili Michael Haneke ("Šašave igre").

Film posjeduje začudnost grčkog "čudnog vala", ali i uzvišenost novovalnih "elevated" horora s potpisom Jordana Peelea ("Bježi!", "Mi") ili dua Veronika Franz-Severin Fiala ("Laku noć, mamice"), iako horor ovdje prijeti ući u kadar kao daleka grmljavina koja možda i ne dođe blizu.

Mardešić i Kapac su svakako načitani filmofili i pokazali su sklonost žanrovskom filmu, ali i angažmanu Roščićke i Bogdana, kao redatelji i/li koscenaristi u kratkišima "Iris" (neo-noir) i "Zagorski specijalitet" (hrvatska verzija horora "Teksaški masakr motornom pilom").

U "Stricu" je primjetan i utjecaj filmova devedesetih koji su propitivali napisanu i izrežiranu stvarnost, od "Potpunog sjećanja", preko "Igre" do "Grada tame", "Trumanova showa" i "Matrixa". Rođeni 1985. i 1986., njihove formativne filmofilske godine bile su žanrovske devedesete koje su nadogradili novomilenijskim festivalskim artom, ali i vraćali se unatrag do osamdesetih, kad je Manojlović bio "otac na službenom putu", a sad je stric.

Glazba u "Stricu" je sintisajzerska na tragu onoga što je radio John Carpenter u osamdesetima, pale se pjesme Magazina, spominje se šoping u Trstu, lista se "Start" i gleda video ("vi-de-o"). Konačno, tu je i prepoznatljiviji Mercedes kojim se iz Njemačke, u posjet rodbini za Božić, dovozi gastarbajter, titularni i bezimeni Stric (Manojlović).

Da to nije običan posjet i da je ovo jedan neobičan film jasno je odmah na početku, kad se jedan tanjur padne na kuhinjski pod i Majka (Roščić) skuplja komadiće nožnim prstima koji proviruju iz rasparanih najlonki u krupnijem planu, i to tako da struže razbijenim dijelovima pokućstva po pločicama radeći "gricule".

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Atmosfera je blago rečeno čudna prije nego što autoritativni Stric dođe, a naročito kad stigne i njegova rodbina ga dočeka ispred kuće mašući. Otac familije (Bogan) je nervozan, dvadeset-i-nešto-godišnji Sin (Sikavica) ponaša se kao da je nedorasli pred-tinejdžer, Majka je pripremila polusirovu puricu, njezini kolači su crni kao ugljen i zagorjeli...

K tome, iako sve upućuje da se radnja odvija u osamdesetima, Stricu najednom zazvoni mobitel i on preuzme poziv iza zatvorenih vrata, daleko od ušiju ostalih ukućana. Taman kad gledatelj opazi prvi "glitch in the Matrix" i počne propitivati je li stvarnost filma stvarna ili konstruirana, Stric odlazi iz kuće, ali i ubrzo opet dolazi. I nanovo slična situacija.

Sve se vraća na početak. Mahanje za dobrodošlicu, purica..., ali atmosfera postaje sve čudnija, mračnija i košmarnija, s političkim, nacionalističkim podtonovima ("Nek se čuje hrvatska pjesma u ovoj tamnici naroda"). Stric snima familiju kamerom, naročito "nevistu" od koje traži da "izbaci malo nogu", a Majka pjeva odraslom Sinu uspavanku.

Kulminacija čudnosti dolazi u trenutku kad Stric iznenadi rodbinu zahtjevom da "otac stoji vani i puši dok mama u sobi vrišti", kao da su oni glumci, a on redatelj koji na licu mjesta mijenja unaprijed dogovorenu scenu iz scenarija. Tko je točno Stric? Zašto forsira obiteljsku idilu?

I zašto mu je bitno imati savršen Božić opet i iznova u "Groundhog Day" stilu pod svaku cijenu, makar pritom psihološki, potencijalno i fizički, terorizirao "rodbinu"? Redatelji škrtare na informacijama u filmu za koji nikad ne možete sa sigurnošću reći gdje vas vodi, intrigirajući mogućim odgovorima i umješno balansirajući između psihološke i fizičke tenzije unutar kuće.

A kad osnovna situacija zamalo postane repetitivna svakim idućim ponavljanjem, oni uvode neke nove elemente i preokrete iz scenarija te iznalaze svježa redateljska rješenja, tipa da likove snimaju u odrazima staklenih ploha poput vrata od pećnica ili da ostave kameru u automobilu koja sa stražnjeg sjedala promatra zbivanja dok se brisači bore protiv jake kiše i trude omogućiti jasan pogled kroz vjetrobransko staklo. "Stric" je jedan od najintrigantnijih i najnepredvidljivijih novijih hrvatskih filmova.

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Scenarij 'ispeglan' na radionici u Splitu

Scenarij za "Strica" je "ispeglan" u Splitu na radionici Razvana Radulescua. Direktor fotografije filma je Miloš Jaćimović koji je snimio "Oazu" Ivana Ikića.

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StoryEditorOCM
Film & TVCINEMARK NA FESTIVALU

‘Stric‘: Život sa Hanekeovim i Lanthimosovim stricem

19. srpnja 2022. - 23:46

Dosad najbolji hrvatski film prikazan na 69. Pulskom festivalu je "Stric", dugometražni igrani prvijenac mladih redatelja Andrije Mardešića i Davida Kapca s Mikijem Manojlovićem, Ivanom Roščić, Goranom Bogdanom i Rokom Sikavicom u glavnim ulogama.

Ovakav film, mješavinu psihološkog trilera s elementima crne komedije, farse, drame pa i horora, hrvatska kinematografija još nije vidjela i netko bi ga lako mogao zamijeniti za grčki, austrijski, čak i američki spoj žanrovca i "art-house" festivalca.

Ne čudi da je "Stric" ili "The Uncle" imao premijeru na Karlovym Varyma kao nešto što je možda mogao snimiti rani Yorgos Lanthimos ("Očnjak") ili Michael Haneke ("Šašave igre").

Film posjeduje začudnost grčkog "čudnog vala", ali i uzvišenost novovalnih "elevated" horora s potpis...

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10. svibanj 2024 15:27