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Polovica 13. FMFS-a tek je otkucala, a već imamo kandidata za najbolji film festivala. Taj film se zove "Mosquito", snimljen je u portugalskoj produkciji i u Split je stigao s Rotterdama. "Mosquito" je i mogući kandidat za godišnju listu najboljih, gdje je mjesto rezervirano i za "1917".
Ratni ep Sama Mendesa naveden je namjerno od svih naslova s buduće liste. Naime, "Mosquito" redatelja Joãoa Nuna Pinta također se odvija za vrijeme Prvog svjetskog rata, i to baš 1917., a fokusiran je na ratnu odiseju jednog mladića. Podudarnost je i da su oba filma nastala prema ratnim pričama koje su režiserima (is)pričali njihovi djedovi.
---
FILM: Moquito; ratna drama; Portugal, 2020. REŽIJA: João Nuno Pinto ULOGE: João Nunes Monteiro, João Lagarto OCJENA: **** ½
---
No, priče se ne odvijaju na istom bojnom polju, niti protagonisti vode istu bitku, iako se zamalo upravo to dogodilo.
Glavni lik "Mosquita", mladi Portugalac Zacarias (odlični João Nunes Monteiro), prijavio se u vojsku kako bi vojevao protiv Nijemaca na francuskoj bojišnici, no poslan je u Afriku da se tamo bori s njima i obrani portugalsko carstvo.
Relociranjem priče u Afriku, film postaje egzotičniji, ali i političniji. Ne radi se u "Mosquitu" samo o (Prvom svjetskom) ratu. Pintu je rat tek povod da preispita sramnu prošlost portugalske kolonizacije Afrike za koju će Zacarias okajavati. Sugerira se to od prvih scena, kad Zacarias i portugalski vojnici doplove brodom u Mozambik 1917. i tamnoputi robovi ih na ramenima prenose do kopna.
Vojnik Zacarias je predstavljen kao naivni idealist i netko tko ni po čemu ne sumnja u bjelačku superiornost, nego je uzima zdravo za gotovo, a željan je proslaviti se u ratu za domovinu. "Držim rat u mislima, domovinu u srcu", tvrdi mladić jednom od nadređenih koji se ne libi reći da se bitange, pijanci i njima slični nalaze u redovima portugalske vojske u borbi da zadrži kolonije.
Mic po mic, Zacariasovi snovi će postati noćna mora i on će izgubiti vjeru u domovinu, dijelom i vlastiti zdravi razum tijekom afričkih putešestvija gdje prolazi put od kolonizatora do koloniziranog kad ga zarobi lokalno crnačko pleme i, za promjenu, tretira njega kao roba.
To što je Zacariasa dohvatila malarija ubodom komarca, Pinto koristi da pretvori film u halucinatorno iskustvo na tankoj crvenoj liniji sna i jave, razuma i bezumlja. U jednoj sceni Zacarias govori kako maršira živ kroz snove. Razlomljena kronologija, tj. nelinearna naracija doprinosi kaotičnom doživljaju "Mosquita" koji seli "1917" u Afriku, a "Apokalipsu danas" ubacuje u "Tanku crvenu liniju" ili obratno.
Portugalski filmaš nagledao se veličanstvenih klasika Francisa Forda Coppole i Terrencea Malicka te spojio njihovu suprotivu filozofiju u audiovizualno bravurozan komad ratne drame, kakav je bio i nedavni kolumbijski "Monos" Alejandra Landesa, njegov spritualni prethodnik.
Redatelj demostrira umijeće artovanja prilikom dočaravanja ratovanja i uspijeva da mu punokrvni festivalski art film istovremeno bude hipnotičan i poetičan, nadrealan i realističan, a Zacariasa oslikava kao mlađu inačicu Willarda (Martin Sheen, "Apocalypse Now") i Witta (Jim Caviezel, "The Thin Red Line").
Sunce se "malickovski" odbija od Zacariasova ruksaka i vrška puške, viri kroz grane i zrakama miluje rajski okoliš koji ne zaslužuje biti opustošen ratom. S druge strane, Zacarias puca po Willardovu šavu kad iskusi malariju i ratnu kalvariju, što njegov tumač Monteiro na trenutke dočarava zabrinjavajuće uvjerljivo.
Direktor fotografije/kamerman Adolpho Veloso nije okrenut tehničkim egzhibicijama (maskiranja) neprekinutih kadrova u trajanju od više minuta a la "1917", ali kadrovi znaju biti dugi i dopuštaju da se pojedina scena prirodno razvija i djeluje stvarno, ne "režirano".
Perceptivna kamera radi na ugođaju zajedno s proganjajućom glazbom Justina Mellanda koja se ne libi elektroničkih, čak i "techno" orkestracija. Ne bismo nikad rekli da bi takva glazba mogla odgovarati ovakvom povijesnom/ratnom filmu, ali paše savršeno uz moćne kadrove, od kojih se možda najviše izdvaja onaj sa Zacariasom na površini jezera. Odiseja glavnog lika ispričana je slikama i zvukovima, s malo dijaloga, kao festivalsko-artovski preslik puta u srce tame i tamu srca.
---
Drugijenac deset godina nakon prvijenca
Ovo je dugmetražni drugijenac redatelja Joãoa Nuna Pinta, nastao dugih devet godina nakon njegova prvijenca. Pinto je debitirao 2010. s filmom "America".
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Polovica 13. FMFS-a tek je otkucala, a već imamo kandidata za najbolji film festivala. Taj film se zove "Mosquito", snimljen je u portugalskoj produkciji i u Split je stigao s Rotterdama. "Mosquito" je i mogući kandidat za godišnju listu najboljih, gdje je mjesto rezervirano i za "1917".
Ratni ep Sama Mendesa naveden je namjerno od svih naslova s buduće liste. Naime, "Mosquito" redatelja Joãoa Nuna Pinta također se odvija za vrijeme Prvog svjetskog rata, i to baš 1917., a fokusiran je na ratnu odiseju jednog mladića. Podudarnost je i da su oba filma nastala prema ratnim pričama koje su režiserima (is)pričali njihovi djedovi.
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FILM: Moquito; ratna drama; Portugal, 2020. REŽIJA: João Nuno Pinto ULOGE: João Nunes Monteiro, João Lagarto OCJENA: **** ½
---
No, priče se ne odvijaju na istom bojnom polju, niti protagonisti vode istu bitku, iako se zamalo upravo to dogodilo.
Glavni lik "Mosquita", mladi Portugalac Zacarias (odlični João Nunes Monteiro), prijavio se u vojsku kako bi vojevao protiv Nijemaca na francuskoj bojišnici, no poslan je u Afriku da se tamo bori s njima i obrani portugalsko carstvo.
Relociranjem priče u Afriku, film postaje egzotičniji, ali i političniji. Ne radi se u "Mosquitu" samo o (Prvom svjetskom) ratu. Pintu je rat tek povod da preispita sramnu prošlost portugalske kolonizacije Afrike za koju će Zacarias okajavati. Sugerira se to od prvih scena, kad Zacarias i portugalski vojnici doplove brodom u Mozambik 1917. i tamnoputi robovi ih na ramenima prenose do kopna.
Vojnik Zacarias je predstavljen kao naivni idealist i netko tko ni po čemu ne sumnja u bjelačku superiornost, nego je uzima zdravo za gotovo, a željan je proslaviti se u ratu za domovinu. "Držim rat u mislima, domovinu u srcu", tvrdi mladić jednom od nadređenih koji se ne libi reći da se bitange, pijanci i njima slični nalaze u redovima portugalske vojske u borbi da zadrži kolonije.
Mic po mic, Zacariasovi snovi će postati noćna mora i on će izgubiti vjeru u domovinu, dijelom i vlastiti zdravi razum tijekom afričkih putešestvija gdje prolazi put od kolonizatora do koloniziranog kad ga zarobi lokalno crnačko pleme i, za promjenu, tretira njega kao roba.
To što je Zacariasa dohvatila malarija ubodom komarca, Pinto koristi da pretvori film u halucinatorno iskustvo na tankoj crvenoj liniji sna i jave, razuma i bezumlja. U jednoj sceni Zacarias govori kako maršira živ kroz snove. Razlomljena kronologija, tj. nelinearna naracija doprinosi kaotičnom doživljaju "Mosquita" koji seli "1917" u Afriku, a "Apokalipsu danas" ubacuje u "Tanku crvenu liniju" ili obratno.
Portugalski filmaš nagledao se veličanstvenih klasika Francisa Forda Coppole i Terrencea Malicka te spojio njihovu suprotivu filozofiju u audiovizualno bravurozan komad ratne drame, kakav je bio i nedavni kolumbijski "Monos" Alejandra Landesa, njegov spritualni prethodnik.
Redatelj demostrira umijeće artovanja prilikom dočaravanja ratovanja i uspijeva da mu punokrvni festivalski art film istovremeno bude hipnotičan i poetičan, nadrealan i realističan, a Zacariasa oslikava kao mlađu inačicu Willarda (Martin Sheen, "Apocalypse Now") i Witta (Jim Caviezel, "The Thin Red Line").
Sunce se "malickovski" odbija od Zacariasova ruksaka i vrška puške, viri kroz grane i zrakama miluje rajski okoliš koji ne zaslužuje biti opustošen ratom. S druge strane, Zacarias puca po Willardovu šavu kad iskusi malariju i ratnu kalvariju, što njegov tumač Monteiro na trenutke dočarava zabrinjavajuće uvjerljivo.
Direktor fotografije/kamerman Adolpho Veloso nije okrenut tehničkim egzhibicijama (maskiranja) neprekinutih kadrova u trajanju od više minuta a la "1917", ali kadrovi znaju biti dugi i dopuštaju da se pojedina scena prirodno razvija i djeluje stvarno, ne "režirano".
Perceptivna kamera radi na ugođaju zajedno s proganjajućom glazbom Justina Mellanda koja se ne libi elektroničkih, čak i "techno" orkestracija. Ne bismo nikad rekli da bi takva glazba mogla odgovarati ovakvom povijesnom/ratnom filmu, ali paše savršeno uz moćne kadrove, od kojih se možda najviše izdvaja onaj sa Zacariasom na površini jezera. Odiseja glavnog lika ispričana je slikama i zvukovima, s malo dijaloga, kao festivalsko-artovski preslik puta u srce tame i tamu srca.
---
Drugijenac deset godina nakon prvijenca
Ovo je dugmetražni drugijenac redatelja Joãoa Nuna Pinta, nastao dugih devet godina nakon njegova prvijenca. Pinto je debitirao 2010. s filmom "America".
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19. svibanj 2024 07:10
