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Neobičan je osjećaj "pratiti" ZFF od kuće, iz Splita, umjesto biti na licu mjesta i gledati filmove u kinima "Tuškanac" ili "MSU". No, što se mora, nije teško. "Novo (ne)normalno" je jesenas preselilo sve filmske festivale "online", pa tako i ZFF koji sada svim filmofilima u Hrvatskoj nudi mogućnost gledanja filma unutar jednog dana na www.kinoeuropa.hr.

Tko se, primjerice, odluči rentati najzvučniji ZFF-ov naslov ovog utorka, "Velika slova" ("Tipografic Majuscul"/"Uppercase-Print") Radua Judea, može ga gledati od "premijere" u 18 sati pa iduća 24 sata, do iste satnice u srijedu. Hoće li "novi Jude" srušiti Internet, treba vidjeti, no u starom normalnom sigurno bi se tražila karta više za projekciju.

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FILM: Tipografic Majuscul; drama; Rumunjska, 2020. REŽIJA: Radu Jude ULOGE: Serban Lazarovici, Ioana Iacob OCJENA: ****

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Jude je u naponu snage kao vodeći društveno-politički satiričar, borac protiv nepravdi i okosnica kolektivne s(a)vijesti rumunjskog društva ("Najsretnija djevojka na svijetu", "Svi u našoj obitelji", "Bravo!"). Prometnuo se i u najproduktivnijeg "novovalnog" rumunjskog filmaša.

Nema tome dugo da smo u kinima gledali njegov "I Do Not Care If We Go Down in History as Barbarians", a na ovogodišnjem Berlinaleu je uz "Uppercase-Print" imao i dokumentarac "The Exit Of The Trains". "Velika slova" odlaze dalje od točke gdje se Jude zaustavio s "Ne zanima me ako u povijesti ostanemo zapisani kao barbari".

Taj (meta)film, hibrid dokumentarog i igranog, pratio je kazališnu inscenaciju sramotnog čina iz rumunjske povijesti – sudjelovanja u Holokaustu. Ovaj film, u još hibridnijoj formi (dokumentarno, igrano, kazališno), istražuje nešto bližu povijest, tj. otima od potencijalnog kolektivnog zaborava slučaj 16-godišnjeg Mugura Călinescua, neistomišljenika Ceauşescuova režima.

Rumunjsku je 1981. šokiralo saznanje da iza grafitima ispisanih poruka na zidovima komunističke partije nije stajala neka strana tajna organizacija ili agent, već da se to drznuo napraviti lokalac, k tome mladić. Neke od poruka, istaknutih štampanim slovima, glasile su "Dosta nam je čekanja u beskrajnim redovima", "Želimo pravdu i slobodu" itd.

Poruke su, dakle, adresirale vapaje za slobodom, radničkim pravima, boljim uvjetima života... Iz njih se iščitavao "call-to-action" ton kojeg Jude pojačava do maksimuma rekreirajući na nesvakidašnji način istinitu priču o momku kojeg je tajna policija ispitivala, prisluškivala i slomila, a izdali ga njegovi prijatelji, proglašeni osumnjičenima kao i svi njemu bliski ljudi poput članova obitelji.

"Nismo loši, htjeli smo ga reintegrirati", govore autoriteti u filmu za Călinescua koji rezignirano konstatira "Ne možeš ništa napraviti sam među kukavicama". Osim što je dokumentarnu formu spario s igranom, Jude je sparuje i s kazalištem, stvarajući nekakav doku-teatar na temelju onoga što na kazališnim daskama radi Gianina Cărbunariu čiju je predstavu "Uppercase-Print" preselio u film.

Dokumentarne arhivske snimke miješaju se s filmsko-kazališnom inscenacijom događaja u formi doku-drame, igrokaza i performansa, otprilike kao što je Nebojša Slijepčević napravio u "Srbenki", samo s više isprepletenosti medija. Film započinje sa VHS snimkom iz studija rumunjske televizije nakon što zakaže blesimetar s kojeg su TV voditelji čitali podatke i skriptirani tekst nestane.

Scena naštimava ton "Velikih slova": životi su u Rumunjskoj bili ispisani Ceauşescuovom dikatatorskom rukom i svatko tko je govorio drukčije od onoga što piše na (njegovom) blesimetru bio je neprijatelj sustava i rušitelj režima kojeg treba preodgojiti. Takvim je proglašen Călinescu (glumi ga Serban Lazarovici), a njegov čin je proglašen "zloglasnim napadom protiv Rumunjske" kojim je on, slušajući američki Radio Slobodna Europa, "stao na stranu neprijatelja".

Lako je zamisliti i konvencionalniji dramski, "oskarovski" film o Călinescuu, ali rumunjske drame ionako ne konkuriraju za Oscara pa se Jude mogao razbacati u nekonvencionalnom, eksperimentalnom pristupu i tako načiniti još direktnijom poruku o prkošenju diktaturi od strane dečka koji je sam ustao protiv Čaušeskuove političke represije i indoktrinacije. Poruku napisanu VELIKIM SLOVIMA.

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Dvostruki laureat ZFF-a

Radu Jude je dvostruki laureat ZFF-a: za "Najsretniju djevojku na svijetu" dobio je posebno priznanje, a za "Svi u našoj obitelji" nagradu Zlatna kolica.

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Neobičan je osjećaj "pratiti" ZFF od kuće, iz Splita, umjesto biti na licu mjesta i gledati filmove u kinima "Tuškanac" ili "MSU". No, što se mora, nije teško. "Novo (ne)normalno" je jesenas preselilo sve filmske festivale "online", pa tako i ZFF koji sada svim filmofilima u Hrvatskoj nudi mogućnost gledanja filma unutar jednog dana na www.kinoeuropa.hr.

Tko se, primjerice, odluči rentati najzvučniji ZFF-ov naslov ovog utorka, "Velika slova" ("Tipografic Majuscul"/"Uppercase-Print") Radua Judea, može ga gledati od "premijere" u 18 sati pa iduća 24 sata, do iste satnice u srijedu. Hoće li "novi Jude" srušiti Internet, treba vidjeti, no u starom normalnom sigurno bi se tražila karta više za projekciju.

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FILM: Tipografic Majuscul; drama; Rumunjska, 2020. REŽIJA: Radu Jude ULOGE: Serban Lazarovici, Ioana Iacob OCJENA: ****

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Jude je u naponu snage kao vodeći društveno-politički satiričar, borac protiv nepravdi i okosnica kolektivne s(a)vijesti rumunjskog društva ("Najsretnija djevojka na svijetu", "Svi u našoj obitelji", "Bravo!"). Prometnuo se i u najproduktivnijeg "novovalnog" rumunjskog filmaša.

Nema tome dugo da smo u kinima gledali njegov "I Do Not Care If We Go Down in History as Barbarians", a na ovogodišnjem Berlinaleu je uz "Uppercase-Print" imao i dokumentarac "The Exit Of The Trains". "Velika slova" odlaze dalje od točke gdje se Jude zaustavio s "Ne zanima me ako u povijesti ostanemo zapisani kao barbari".

Taj (meta)film, hibrid dokumentarog i igranog, pratio je kazališnu inscenaciju sramotnog čina iz rumunjske povijesti – sudjelovanja u Holokaustu. Ovaj film, u još hibridnijoj formi (dokumentarno, igrano, kazališno), istražuje nešto bližu povijest, tj. otima od potencijalnog kolektivnog zaborava slučaj 16-godišnjeg Mugura Călinescua, neistomišljenika Ceauşescuova režima.

Rumunjsku je 1981. šokiralo saznanje da iza grafitima ispisanih poruka na zidovima komunističke partije nije stajala neka strana tajna organizacija ili agent, već da se to drznuo napraviti lokalac, k tome mladić. Neke od poruka, istaknutih štampanim slovima, glasile su "Dosta nam je čekanja u beskrajnim redovima", "Želimo pravdu i slobodu" itd.

Poruke su, dakle, adresirale vapaje za slobodom, radničkim pravima, boljim uvjetima života... Iz njih se iščitavao "call-to-action" ton kojeg Jude pojačava do maksimuma rekreirajući na nesvakidašnji način istinitu priču o momku kojeg je tajna policija ispitivala, prisluškivala i slomila, a izdali ga njegovi prijatelji, proglašeni osumnjičenima kao i svi njemu bliski ljudi poput članova obitelji.

"Nismo loši, htjeli smo ga reintegrirati", govore autoriteti u filmu za Călinescua koji rezignirano konstatira "Ne možeš ništa napraviti sam među kukavicama". Osim što je dokumentarnu formu spario s igranom, Jude je sparuje i s kazalištem, stvarajući nekakav doku-teatar na temelju onoga što na kazališnim daskama radi Gianina Cărbunariu čiju je predstavu "Uppercase-Print" preselio u film.

Dokumentarne arhivske snimke miješaju se s filmsko-kazališnom inscenacijom događaja u formi doku-drame, igrokaza i performansa, otprilike kao što je Nebojša Slijepčević napravio u "Srbenki", samo s više isprepletenosti medija. Film započinje sa VHS snimkom iz studija rumunjske televizije nakon što zakaže blesimetar s kojeg su TV voditelji čitali podatke i skriptirani tekst nestane.

Scena naštimava ton "Velikih slova": životi su u Rumunjskoj bili ispisani Ceauşescuovom dikatatorskom rukom i svatko tko je govorio drukčije od onoga što piše na (njegovom) blesimetru bio je neprijatelj sustava i rušitelj režima kojeg treba preodgojiti. Takvim je proglašen Călinescu (glumi ga Serban Lazarovici), a njegov čin je proglašen "zloglasnim napadom protiv Rumunjske" kojim je on, slušajući američki Radio Slobodna Europa, "stao na stranu neprijatelja".

Lako je zamisliti i konvencionalniji dramski, "oskarovski" film o Călinescuu, ali rumunjske drame ionako ne konkuriraju za Oscara pa se Jude mogao razbacati u nekonvencionalnom, eksperimentalnom pristupu i tako načiniti još direktnijom poruku o prkošenju diktaturi od strane dečka koji je sam ustao protiv Čaušeskuove političke represije i indoktrinacije. Poruku napisanu VELIKIM SLOVIMA.

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Dvostruki laureat ZFF-a

Radu Jude je dvostruki laureat ZFF-a: za "Najsretniju djevojku na svijetu" dobio je posebno priznanje, a za "Svi u našoj obitelji" nagradu Zlatna kolica.

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StoryEditorOCM
Film & TVCINEMARK NA FESTIVALU

VELIKA SLOVA Călinescu nikada neće biti Ceauşescu

10. studenog 2020. - 14:37

Neobičan je osjećaj "pratiti" ZFF od kuće, iz Splita, umjesto biti na licu mjesta i gledati filmove u kinima "Tuškanac" ili "MSU". No, što se mora, nije teško. "Novo (ne)normalno" je jesenas preselilo sve filmske festivale "online", pa tako i ZFF koji sada svim filmofilima u Hrvatskoj nudi mogućnost gledanja filma unutar jednog dana na www.kinoeuropa.hr.

Tko se, primjerice, odluči rentati najzvučniji ZFF-ov naslov ovog utorka, "Velika slova" ("Tipografic Majuscul"/"Uppercase-Print") Radua Judea, može ga gledati od "premijere" u 18 sati pa iduća 24 sata, do iste satnice u srijedu. Hoće li "novi Jude" srušiti Internet, treba vidjeti, no u starom normalnom sigurno bi se tražila karta više za projekciju.

Jude je u naponu snage kao vodeći društveno-politički satiričar,...

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11. svibanj 2024 22:59