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Zabrana da legendarni Jafar Panahi napusti Iran i bavi se filmom zbog “širenja antidržavne propagande” na snazi je od 2010. godine, kad je najveći iranski redatelj bio prvi put osuđen i na šest godina zatvora. Otad naovamo, međutim, Panahi kao politički zatvorenik nije prestao snimati filmove u pauzama između služenja kazni i pisanja žalbi, čak i kad se nalazio u kućnom pritvoru (“Navučen zastor”, “Taxi”...).

Slučaj iranskog filmaša inspirativan je i nadahnuo je njegova sina da se samostalno okuša kao redatelj i scenarist. Tridesetosmogodišnji Panah Panahi debitirao je filmom “Put pod noge” (“Jaddeh Khaki”/”Hit The Road”), premijerno prikazanom u Cannesu, koji je, nakon hrvatske premijere na Motovunskom festivalu, odnedavno postao dostupan za gledanje na HBO Maxu.

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FILM: Jaddeh Khaki; drama; Iran, 2021. REŽIJA: Panah Panahi ULOGE: Pantea Panahiha, Rayan Sarlak OCJENA: ****

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Sintagma “Kakav otac, takav sin” primjenjiva je na “Put pod noge”. Debitanski rad mlađeg Panahija lijepa je i elegična posveta ocu i očevim nastojanjima iza kamere, ali i politički kritičan film spram društvene represije u Iranu, samo suptilniji u toj kritici. Prve riječi koje čujemo u “Hit The Road” su: “Gdje smo?”

Pitanja postavlja neimenovana mama (Pantea Panahiha) sjedeći na suvozačevu mjestu u automobilu. “Mi smo mrtvi”, zacvrkuće njezin sinčić (Rayan Sarlak) sa stražnjeg sjedala. Nisu mrtvi, naravno, ali putuju u nepoznato s ocem (Hassan Madjooni), starijim bratom (Amin Simiar) i bolesnim psićem.

Likovi su živopisni, mlađi je brat kao svojevrsni Mowgli iz iranskog filma, a otac ima nogu u gipsu na kojem su nacrtane crno-bijele tipke klavira po kojima će sin zasvirati u uvodnoj sceni magičnog realizma, kad se čini i da bismo mogli gledati “Malu miss Amerike” iz Irana.

Obiteljska “road movie” komedija prisutna je u “Putu pod noge”, ali prevladava dramski misterij i nostalgija. Cilj njihova putovanja isprva je misteriozan, a i kad postane jasan, nije ekspliciran, nego se čita između redaka (pjevanje pjesama izvođača koji su napustili Iran). Najveći dio toga je neizrečen, vjerojatno radi toga da i mlađi Panahi ne završi u zatvoru.

Familija je, postupno shvaćamo, napustila Teheran i putuje u unajmljenom vozilu kroz zabitni sjeverozapadni Iran prema granici s Turskom. Putovanje ih je (skupo) koštalo kuće i vlastitog automobila, a i rizične je prirode. “Prate nas”, u jednom trenutku kaže mama i potencira paranoju i tenziju unutar sveprisutnog misterija. Zbog zaštitničkih poriva, obitelj skriva od mlađeg sina što je posrijedi, podsjećajući na situaciju iz filma “Život je lijep”. Isto to Panahi radi i gledateljima, ali ne tretira ih kao djecu.

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Svakim idućim kilometrom misterij je jasniji, prije srceparajućeg obiteljskog rastanka: roditelji ilegalno prebacuju sina iz Irana negdje na Zapad. Nije precizirano je li on prisiljen napustiti zemlju ili to radi svojevoljno, no kako god se okrene, razlozi za prebjeg su pretpostavljivi s obzirom na slučaj Panahija starijeg, kojega je društvo otrgnulo od familije.

U razlozima se i metafilmski ocrtava nadahnuće debitantskog redatelja za “Hit The Road”, koji, uz to, oslikava i moderno imigrantsko iskustvo (bodljikava žica na prozoru), za promjenu na samom ishodištu umjesto mahom na/pri krajnjem odredištu kao u filmovima “Havarija”, “Styx”, “Ljudska rijeka”, “Berlin Alexanderplatz”, “His House”, “Bijeg”... Utjecaji očeva “Taxija” zamjetni su u “Putu pod noge” s vozikanjem i susretima tijekom vožnje, primjerice s biciklistom.

Veći dio filma odvija se u automobilu, čime mlađi Panahi podsjeća na klaustrofobiju političkog zatvoreništva njegova oca, ali razvidan je i krik za slobodom svaki put kad likovi izađu iz vozila i redatelj uperi kameru u krajobraze, snimljene u širokim kadrovima, te snimi neke divne magično-realistične prizore.

Primjerice, prizor malog psa kako, zavezan za plastičnu stolicu, trčkara kroz polje, na način da vidimo samo stolicu. Perspektiva je nerijetko nevina, dječja, pa i filmofilska u “Hit The Road”, sve u svrhu odmaka od stvarnosti. Kad obitelj naleti na motociklista s vrećom na glavi, sinčić ga usporedi s Batmanovim neprijateljem Strašilom (“Sjećaš li se filma?”).

Batman se spominje i u kasnijem razgovoru oca i najmlađeg sina pod zvijezdama, kad će se stripovske fantazije ispreplesti sa stvarnošću i rekreirati “Odiseju u svemiru”. Otac i sin bit će teleportirani u svemir i zaplutat će njegovim prostranstvima u nekakvoj vreći za spavanje koja se pretvara u astronautsko odijelo.

Scena je refleksija prijašnjeg razgovora starijeg sina i majke. Stariji je sin istaknuo Kubrickov klasik “2001: A Space Odyssey” kao najdraži film koji je “hipnotizirajući”, “zen”, “smiruje te” i “vodi duboko u galaksije”. “Galaksije su pune ratova”, veli majka. No, u “Odiseji” nema ratova, ali ima prelaženja granica vremena i prostora. Panahi mlađi tome i stremi s “Putom pod noge” – prelasku granice jednog prostora, ako ne i vremena.

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Montažer pa režiser

Snimatelj je Amin Jafari, koji je bio direktor fotografije na ‘3 lica’ Jafara Panahija, gdje se, pak, Panah okušao kao montažer.

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Zabrana da legendarni Jafar Panahi napusti Iran i bavi se filmom zbog “širenja antidržavne propagande” na snazi je od 2010. godine, kad je najveći iranski redatelj bio prvi put osuđen i na šest godina zatvora. Otad naovamo, međutim, Panahi kao politički zatvorenik nije prestao snimati filmove u pauzama između služenja kazni i pisanja žalbi, čak i kad se nalazio u kućnom pritvoru (“Navučen zastor”, “Taxi”...).

Slučaj iranskog filmaša inspirativan je i nadahnuo je njegova sina da se samostalno okuša kao redatelj i scenarist. Tridesetosmogodišnji Panah Panahi debitirao je filmom “Put pod noge” (“Jaddeh Khaki”/”Hit The Road”), premijerno prikazanom u Cannesu, koji je, nakon hrvatske premijere na Motovunskom festivalu, odnedavno postao dostupan za gledanje na HBO Maxu.

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FILM: Jaddeh Khaki; drama; Iran, 2021. REŽIJA: Panah Panahi ULOGE: Pantea Panahiha, Rayan Sarlak OCJENA: ****

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Sintagma “Kakav otac, takav sin” primjenjiva je na “Put pod noge”. Debitanski rad mlađeg Panahija lijepa je i elegična posveta ocu i očevim nastojanjima iza kamere, ali i politički kritičan film spram društvene represije u Iranu, samo suptilniji u toj kritici. Prve riječi koje čujemo u “Hit The Road” su: “Gdje smo?”

Pitanja postavlja neimenovana mama (Pantea Panahiha) sjedeći na suvozačevu mjestu u automobilu. “Mi smo mrtvi”, zacvrkuće njezin sinčić (Rayan Sarlak) sa stražnjeg sjedala. Nisu mrtvi, naravno, ali putuju u nepoznato s ocem (Hassan Madjooni), starijim bratom (Amin Simiar) i bolesnim psićem.

Likovi su živopisni, mlađi je brat kao svojevrsni Mowgli iz iranskog filma, a otac ima nogu u gipsu na kojem su nacrtane crno-bijele tipke klavira po kojima će sin zasvirati u uvodnoj sceni magičnog realizma, kad se čini i da bismo mogli gledati “Malu miss Amerike” iz Irana.

Obiteljska “road movie” komedija prisutna je u “Putu pod noge”, ali prevladava dramski misterij i nostalgija. Cilj njihova putovanja isprva je misteriozan, a i kad postane jasan, nije ekspliciran, nego se čita između redaka (pjevanje pjesama izvođača koji su napustili Iran). Najveći dio toga je neizrečen, vjerojatno radi toga da i mlađi Panahi ne završi u zatvoru.

Familija je, postupno shvaćamo, napustila Teheran i putuje u unajmljenom vozilu kroz zabitni sjeverozapadni Iran prema granici s Turskom. Putovanje ih je (skupo) koštalo kuće i vlastitog automobila, a i rizične je prirode. “Prate nas”, u jednom trenutku kaže mama i potencira paranoju i tenziju unutar sveprisutnog misterija. Zbog zaštitničkih poriva, obitelj skriva od mlađeg sina što je posrijedi, podsjećajući na situaciju iz filma “Život je lijep”. Isto to Panahi radi i gledateljima, ali ne tretira ih kao djecu.

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Svakim idućim kilometrom misterij je jasniji, prije srceparajućeg obiteljskog rastanka: roditelji ilegalno prebacuju sina iz Irana negdje na Zapad. Nije precizirano je li on prisiljen napustiti zemlju ili to radi svojevoljno, no kako god se okrene, razlozi za prebjeg su pretpostavljivi s obzirom na slučaj Panahija starijeg, kojega je društvo otrgnulo od familije.

U razlozima se i metafilmski ocrtava nadahnuće debitantskog redatelja za “Hit The Road”, koji, uz to, oslikava i moderno imigrantsko iskustvo (bodljikava žica na prozoru), za promjenu na samom ishodištu umjesto mahom na/pri krajnjem odredištu kao u filmovima “Havarija”, “Styx”, “Ljudska rijeka”, “Berlin Alexanderplatz”, “His House”, “Bijeg”... Utjecaji očeva “Taxija” zamjetni su u “Putu pod noge” s vozikanjem i susretima tijekom vožnje, primjerice s biciklistom.

Veći dio filma odvija se u automobilu, čime mlađi Panahi podsjeća na klaustrofobiju političkog zatvoreništva njegova oca, ali razvidan je i krik za slobodom svaki put kad likovi izađu iz vozila i redatelj uperi kameru u krajobraze, snimljene u širokim kadrovima, te snimi neke divne magično-realistične prizore.

Primjerice, prizor malog psa kako, zavezan za plastičnu stolicu, trčkara kroz polje, na način da vidimo samo stolicu. Perspektiva je nerijetko nevina, dječja, pa i filmofilska u “Hit The Road”, sve u svrhu odmaka od stvarnosti. Kad obitelj naleti na motociklista s vrećom na glavi, sinčić ga usporedi s Batmanovim neprijateljem Strašilom (“Sjećaš li se filma?”).

Batman se spominje i u kasnijem razgovoru oca i najmlađeg sina pod zvijezdama, kad će se stripovske fantazije ispreplesti sa stvarnošću i rekreirati “Odiseju u svemiru”. Otac i sin bit će teleportirani u svemir i zaplutat će njegovim prostranstvima u nekakvoj vreći za spavanje koja se pretvara u astronautsko odijelo.

Scena je refleksija prijašnjeg razgovora starijeg sina i majke. Stariji je sin istaknuo Kubrickov klasik “2001: A Space Odyssey” kao najdraži film koji je “hipnotizirajući”, “zen”, “smiruje te” i “vodi duboko u galaksije”. “Galaksije su pune ratova”, veli majka. No, u “Odiseji” nema ratova, ali ima prelaženja granica vremena i prostora. Panahi mlađi tome i stremi s “Putom pod noge” – prelasku granice jednog prostora, ako ne i vremena.

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Montažer pa režiser

Snimatelj je Amin Jafari, koji je bio direktor fotografije na ‘3 lica’ Jafara Panahija, gdje se, pak, Panah okušao kao montažer.

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‘Put pod noge‘: Očevim političkim tragom

Piše Marko Njegić
7. siječnja 2023. - 22:42
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Zabrana da legendarni Jafar Panahi napusti Iran i bavi se filmom zbog “širenja antidržavne propagande” na snazi je od 2010. godine, kad je najveći iranski redatelj bio prvi put osuđen i na šest godina zatvora. Otad naovamo, međutim, Panahi kao politički zatvorenik nije prestao snimati filmove u pauzama između služenja kazni i pisanja žalbi, čak i kad se nalazio u kućnom pritvoru (“Navučen zastor”, “Taxi”...).

Slučaj iranskog filmaša inspirativan je i nadahnuo je njegova sina da se samostalno okuša kao redatelj i scenarist. Tridesetosmogodišnji Panah Panahi debitirao je filmom “Put pod noge” (“Jaddeh Khaki”/”Hit The Road”), premijerno prikazanom u Cannesu, koji je, nakon hrvatske premijere na Motovunskom festivalu, odnedavno postao dostupan za...

#CINEMARK#CINEMARK U KUĆNOM KINU#PANAH PANAHI#IRANSKI FILMOVI#FESTIVALSKI FILMOVI
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