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Identitet današnje mladosti – rodni, poslovni, intimni, socijalni, migrantski... – jedna je od ključnih tema ovogodišnjeg Split Film Festivala. Temu možda i najpreciznije zrcali “Moja praznina i ja” (“Mi vacío y yo”/”My Emptiness and I”), jedan od najboljih filmova sa 27. STFF-a, premijerno prikazan na festivalu u Rotterdamu.

Naime, “Moja praznina i ja” španjolskog redatelja i koscenarista Adriána Silvestrea obuhvaća gotovo sve spomenute identitete, držeći u prvom planu transrodnu osobu, Raphäelle (Raphäelle Perez; koautorica scenarija), koja je iz Francuske stigla u Barcelonu u potrazi za sobom. Raphäelle radi u pozivnom centru, odijeva se i definira kao žena dok želi postati “prava djevojka” i žarko žudi za iskrenom ljubavlju.

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FILM: Mi vacío y yo; drama; Španjolska, 2022. REŽIJA: Adrian Silvestre ULOGE: Raphäelle Perez, Alberto Diaz OCJENA: ****

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Film “My Emptiness and I” je usredotočen na nju i njezinu svakodnevicu emotivnih i seksualnih doživljaja ljudi i svijeta oko sebe, baveći se najviše pitanjem (trans)rodnog identiteta, ali i razlikama između muškarca, žene i transrodne osobe. Za Silvestrea bitne razlike nema. Svi su ponajprije ljudska bića.

”Kosti i meso, ista sam kao i ti”, rekla bi transrodna protagonistica “Fantastične žene” Sebastiá​na Lelioa kad su je dočekali riječima “Jesi li bila na operaciji? Ne razumijem što si...”. Što kaže Raphäelle? “Nisam izvanzemaljac. Ja sam dečko, ali to me ne čini manje djevojkom”, veli Raphäelle u filmu u kojem čujemo ključnu proklamaciju “Ovo tijelo je naš krajolik”.

Glavni lik Silvestreove drame “Moja praznina i ja” krajnje je autentičan i poistovjetljiv u svojoj ranjivosti i čeznutljivosti, netko tko samo žudi za slobodom i pravom da bude ono što jest, da se osjeti prihvaćenim i uklopi u društvo kakvo često osuđuje i ne trpi “drukčije” ako ne odgovaraju davno uspostavljenim identitetskim kategorijama i društvenim stereotipima.

Dok je Lelio u “A Fantastic Woman” miješao almodovarovsku melodramu i noirovsku misteriju, “My Emptiness and I” je prije svega karakterna studija, i to mozaičnog tipa. Pratimo Raphäelle na konzultacijama kod psihologa i kirurga u vezi vaginoplastike (treba čekati tri godine na operaciju), njezine sastanke u transrodnoj grupi čiji članovi rade na tome ne da “promijene sebe” nego kako ih “doživljavaju” te nalaženje preko društvenih mreža s muškarcima koji je znaju poniziti kad je vide, zamalo i silovati.

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”Želim upoznati muškarca koji bi me volio ovakvu kakva jesam”, vapi Raphäelle. Silvestre suosjeća s Raphäelle i kamera njegove snimateljice Laure Herrero Garvín ljubi protagonisticu, snimajući je u simboličnim kadrovima, tipa kako sjedi ispred muške lutke za izlog okrenute leđima da ne vidimo lutkin spolni organ. U prethodnim filmovima Silvestre se također bavio transrodnim osobama (dokumentarac “Sedimenti”) i jedinstvenim likovima koji se ne uklapaju u kalupe (“Objekti ljubavi”).

Upravo zato, “Moja praznina i ja” je osjećajan i suosjećajan film, vrlo obazriv i prepun suptilne empatije, a opet umije biti i dokumentaristički sirov u portretiranju Raphäelle i njezina “rubnog” svijeta, negdje na pola puta između “Fantastične žene” i izvanrednog “Divljaka” Camillea Vidal-Naqueta sa 23. STFF-a o iskustvima jednog francuskog žigola.

Dokumentarističko iskustvo redatelja kojeg treba držati na oku pokazalo se krucijalnim za film. Silvestre pušta Raphäelle​ da bude ono što jest, da ima svoje čežnje i snove, da sagradi​ povijest lika na temelju šturih natuknica (došla iz Francuske, gdje su ostali njezini roditelji koji joj daju podršku).

Gluma i režija djeluju dokumentaristički prirodno u mnogim dijalozima i situacijama. “My Emptiness and I” je, tako, ponajprije životan film, koliko god bio filmičan, osobito u moćnoj sceni kad Raphäelle stane ispred zrcala u klubu, prihvati sebe i popuni prazninu iz naslova koja ju je pratila u stopu poput sjene.

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Kratka biografija Adriana Silvestrea

Biografske crtice o Adrianu Silvestreu sa STFF-a idu ovako... Redatelj rođen u Valenciji (1981.). Studirao je audiovizualne komunikacije, režiju i povijest suvremene umjetnosti u Madridu, Rimu i Havani. Njegovim filmovima prethodi proces uske suradnje sa zajednicama, najčešće povezanima temama roda, migracije i LGBTI grupa. "Objekti ljubavi" ("Objects Of Love", 2016.) njegov je prvi dugometražni film. Prikazan je na opsežnoj turneji po međunarodnim filmskim festivalima i dobio je brojne nagrade.

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Identitet današnje mladosti – rodni, poslovni, intimni, socijalni, migrantski... – jedna je od ključnih tema ovogodišnjeg Split Film Festivala. Temu možda i najpreciznije zrcali “Moja praznina i ja” (“Mi vacío y yo”/”My Emptiness and I”), jedan od najboljih filmova sa 27. STFF-a, premijerno prikazan na festivalu u Rotterdamu.

Naime, “Moja praznina i ja” španjolskog redatelja i koscenarista Adriána Silvestrea obuhvaća gotovo sve spomenute identitete, držeći u prvom planu transrodnu osobu, Raphäelle (Raphäelle Perez; koautorica scenarija), koja je iz Francuske stigla u Barcelonu u potrazi za sobom. Raphäelle radi u pozivnom centru, odijeva se i definira kao žena dok želi postati “prava djevojka” i žarko žudi za iskrenom ljubavlju.

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FILM: Mi vacío y yo; drama; Španjolska, 2022. REŽIJA: Adrian Silvestre ULOGE: Raphäelle Perez, Alberto Diaz OCJENA: ****

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Film “My Emptiness and I” je usredotočen na nju i njezinu svakodnevicu emotivnih i seksualnih doživljaja ljudi i svijeta oko sebe, baveći se najviše pitanjem (trans)rodnog identiteta, ali i razlikama između muškarca, žene i transrodne osobe. Za Silvestrea bitne razlike nema. Svi su ponajprije ljudska bića.

”Kosti i meso, ista sam kao i ti”, rekla bi transrodna protagonistica “Fantastične žene” Sebastiá​na Lelioa kad su je dočekali riječima “Jesi li bila na operaciji? Ne razumijem što si...”. Što kaže Raphäelle? “Nisam izvanzemaljac. Ja sam dečko, ali to me ne čini manje djevojkom”, veli Raphäelle u filmu u kojem čujemo ključnu proklamaciju “Ovo tijelo je naš krajolik”.

Glavni lik Silvestreove drame “Moja praznina i ja” krajnje je autentičan i poistovjetljiv u svojoj ranjivosti i čeznutljivosti, netko tko samo žudi za slobodom i pravom da bude ono što jest, da se osjeti prihvaćenim i uklopi u društvo kakvo često osuđuje i ne trpi “drukčije” ako ne odgovaraju davno uspostavljenim identitetskim kategorijama i društvenim stereotipima.

Dok je Lelio u “A Fantastic Woman” miješao almodovarovsku melodramu i noirovsku misteriju, “My Emptiness and I” je prije svega karakterna studija, i to mozaičnog tipa. Pratimo Raphäelle na konzultacijama kod psihologa i kirurga u vezi vaginoplastike (treba čekati tri godine na operaciju), njezine sastanke u transrodnoj grupi čiji članovi rade na tome ne da “promijene sebe” nego kako ih “doživljavaju” te nalaženje preko društvenih mreža s muškarcima koji je znaju poniziti kad je vide, zamalo i silovati.

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”Želim upoznati muškarca koji bi me volio ovakvu kakva jesam”, vapi Raphäelle. Silvestre suosjeća s Raphäelle i kamera njegove snimateljice Laure Herrero Garvín ljubi protagonisticu, snimajući je u simboličnim kadrovima, tipa kako sjedi ispred muške lutke za izlog okrenute leđima da ne vidimo lutkin spolni organ. U prethodnim filmovima Silvestre se također bavio transrodnim osobama (dokumentarac “Sedimenti”) i jedinstvenim likovima koji se ne uklapaju u kalupe (“Objekti ljubavi”).

Upravo zato, “Moja praznina i ja” je osjećajan i suosjećajan film, vrlo obazriv i prepun suptilne empatije, a opet umije biti i dokumentaristički sirov u portretiranju Raphäelle i njezina “rubnog” svijeta, negdje na pola puta između “Fantastične žene” i izvanrednog “Divljaka” Camillea Vidal-Naqueta sa 23. STFF-a o iskustvima jednog francuskog žigola.

Dokumentarističko iskustvo redatelja kojeg treba držati na oku pokazalo se krucijalnim za film. Silvestre pušta Raphäelle​ da bude ono što jest, da ima svoje čežnje i snove, da sagradi​ povijest lika na temelju šturih natuknica (došla iz Francuske, gdje su ostali njezini roditelji koji joj daju podršku).

Gluma i režija djeluju dokumentaristički prirodno u mnogim dijalozima i situacijama. “My Emptiness and I” je, tako, ponajprije životan film, koliko god bio filmičan, osobito u moćnoj sceni kad Raphäelle stane ispred zrcala u klubu, prihvati sebe i popuni prazninu iz naslova koja ju je pratila u stopu poput sjene.

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Kratka biografija Adriana Silvestrea

Biografske crtice o Adrianu Silvestreu sa STFF-a idu ovako... Redatelj rođen u Valenciji (1981.). Studirao je audiovizualne komunikacije, režiju i povijest suvremene umjetnosti u Madridu, Rimu i Havani. Njegovim filmovima prethodi proces uske suradnje sa zajednicama, najčešće povezanima temama roda, migracije i LGBTI grupa. "Objekti ljubavi" ("Objects Of Love", 2016.) njegov je prvi dugometražni film. Prikazan je na opsežnoj turneji po međunarodnim filmskim festivalima i dobio je brojne nagrade.

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Film & TVCINEMARK NA FESTIVALU

‘Moja praznina i ja‘: Upoznajte Raphäelle, dečka koji je zapravo djevojka

Piše Marko Njegić
4. rujna 2022. - 12:17
23259050
PREMIUM
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Identitet današnje mladosti – rodni, poslovni, intimni, socijalni, migrantski... – jedna je od ključnih tema ovogodišnjeg Split Film Festivala. Temu možda i najpreciznije zrcali “Moja praznina i ja” (“Mi vacío y yo”/”My Emptiness and I”), jedan od najboljih filmova sa 27. STFF-a, premijerno prikazan na festivalu u Rotterdamu.

Naime, “Moja praznina i ja” španjolskog redatelja i koscenarista Adriána Silvestrea obuhvaća gotovo sve spomenute identitete, držeći u prvom planu transrodnu osobu, Raphäelle (Raphäelle Perez; koautorica scenarija), koja je iz Francuske stigla u Barcelonu u potrazi za sobom. Raphäelle radi u pozivnom centru, odijeva se i definira kao žena dok želi postati “prava djevojka” i žarko žudi za iskrenom ljubavlju.

Film “My Emptiness ...

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