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Subversive Festival je završio, ali filmovi nastavljaju svoj život. Jedan od njih je francuska romantična melodrama “Obje strane oštrice”. Što je subverzivno u mahom nesubverzivnom žanru romantične drame, pitate se? To što su akteri filma sredovječni ljudi, a ne mladići i djevojke kao posljednjih godina, od “Sumraka” do “Igara gladi” i dalje.

Posrijedi je k tome najzvučniji film iz ovogodišnje etape festivala, inspiriran čitanim romanom “Un tournant de la vie” spisateljice Christine Angot iz 2018. i premijerno prikazan zimus na 72. izdanju Berlinskog festivala.

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FILM: Avec amour et acharnement; romantična drama; Francuska, 2022. REŽIJA: Claire Denis ULOGE: Juliette Binoche, Vincent Lindon OCJENA: *** ½

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Iza kamere stoji francuska filmašica Claire Denis (“35 čašica ruma”, “Bijeli materijal”), koja je za ovu režiju osvojila Srebrnog medvjeda na Berlinaleu, a u glavnim ulogama nastupaju oskarovka Juliette Binoche (“Engleski pacijent”, “Provjerena kopija”, “Oblaci nad Sils Marijom”, “Kako biti dobra supruga”, “Dvostruki životi”) i Vincent Lindon (“Titan”), nagrađen u Cannesu za ulogu “Pravog muškarca”. Denis i Binoche već su surađivale na filmovima “Misija: Duboki svemir” i “Isabellino sunce”. Također, Denis je na potonjem filmu scenaristički surađivala i s Angot, kao i sada.

Izvorno naslovljen “Avec amour et acharnement”, što bi značilo “S ljubavlju i bijesom”, “Obje strane oštrice” dobile su naslov za međunarodno tržište prema pjesmi Tindersticksa, snimljenoj posebno za film, odnosno stihovima “I’m sliding down both sides of the blade”.

Niz obje strane oštrice klizi Binochein lik, radijska voditeljica Sara koja je već deset godina s Jeanom (Lindon), bivšim igračem ragbija s nepreciziranim zatvorskim dosjeom. Njih dvoje imaju naizged idiličan i stabilan odnos. Upoznajemo ih na romantičnom odmoru negdje na moru, gdje se nježno ljube i miluju. Romantika je u zraku i kad se vrate u hladni Pariz i zagrljeni promatraju grad s balkona stana.

Pa ipak, stvari nisu tako idilične. Jean je izgubio skrbništvo nad sinom iz prijašnjeg braka, tinejdžerom Marcusom (Issa Perica), koji živi s bakom, njegovom majkom Nelly (Bulle Ogier), a i, nezaposlen, financijski ovisi o Sari, što ljulja njegov ideal muškosti. Sara, pak, jednog jutra na ulici ugleda bivšeg dečka Francoisa (Grégoire Colin), Jeanova nekadašnjeg prijatelja i poslovnog partnera.

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”Vidjela sam Francoisa danas”, kaže ona Jeanu. Prošlo je dosta vremena otkako su Sara i Jean vidjeli Francoisa koji se vratio u Pariz i starom prijatelju/partneru nudi novi posao u sportskoj agenciji. Ponovni ulazak Francoisa u njihov život remeti Sarin odnos s Jeanom i budi neke stare osjećaje u njoj. Ona to ne želi priznati, ali i prije nego što kaže “Kad voliš nekoga, to nikad ne nestaje” Sarine unutarnje turbulencije razotkriva govor tijela, njezine oči i pogledi u krupnom planu.

Binoche, velika francuska zvijezda s međunarodnom karijerom, majstorica je oslikavanja skrivenih tajnovitih osjećaja, čime oplemenjuje i osrednje filmove tipa “Ona koju zamišljaš”, a Denis je snima u krupnim planovima i preslikava uzburkane i suprotive emocije glumičina lika, još jednom razapetog između dvojice muškaraca.

Krupni plan redateljica koristi i prilikom nježnog bliskog susreta i zagrljaja starih ljubavnika Sare i Francoisa, koji djeluje još snažnije i nježnije s obzirom na “novo (ne)normalno”. Kako se film snimao tijekom COVID-19 restrikcija u Francuskoj, korona postoji i u njegovoj stvarnosti te je uklopljena u priču, pa likovi nose maske itd. “Ne zaboravi masku”, čujemo.

Maske imaju i metaforičku ulogu, budući da dosta toga ostaje skriveno i dvosmisleno (Francois kao misterij, razlog zbog kojega je Jean bio u zatvoru, potencijalni homoseksualni odnos njih dvojice). Film kao da se većim dijelom odvija u Sarinoj glavi, gdje arhetipskoj romantičnoj melodrami o ljubavnom trokutu pridodaje elemente erotskog trilera bračne prirode, na tragu “Duboke vode”, samo bez ubojstava.

Romantično-erotski susreti Sare s Francoisom mogu se sagledati i kao vizualizacija njezine mašte ili paralelne stvarnosti, ne nužno zato što ona negira sumnjičavom Jeanu da su se dogodili, nego zbog pomalo snolike fotografije Erica Gautiera (“Grace od Monaka”, “Samo more zna”). Opet, Sarino negiranje sugerira realističnu kompleksnost ljubavnog trokuta. Dvostruki osjećaji sijeku (s) obje strane oštrice.

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Denis od Berlina do Cannesa

Clair Denis je i na ovogodišnjem Cannesu predstavila novi film "Stars At Noon" s Margaret Qualley i Joeom Alwynom u glavnim ulogama za koji je također osvojila nagradu.

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Subversive Festival je završio, ali filmovi nastavljaju svoj život. Jedan od njih je francuska romantična melodrama “Obje strane oštrice”. Što je subverzivno u mahom nesubverzivnom žanru romantične drame, pitate se? To što su akteri filma sredovječni ljudi, a ne mladići i djevojke kao posljednjih godina, od “Sumraka” do “Igara gladi” i dalje.

Posrijedi je k tome najzvučniji film iz ovogodišnje etape festivala, inspiriran čitanim romanom “Un tournant de la vie” spisateljice Christine Angot iz 2018. i premijerno prikazan zimus na 72. izdanju Berlinskog festivala.

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FILM: Avec amour et acharnement; romantična drama; Francuska, 2022. REŽIJA: Claire Denis ULOGE: Juliette Binoche, Vincent Lindon OCJENA: *** ½

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Iza kamere stoji francuska filmašica Claire Denis (“35 čašica ruma”, “Bijeli materijal”), koja je za ovu režiju osvojila Srebrnog medvjeda na Berlinaleu, a u glavnim ulogama nastupaju oskarovka Juliette Binoche (“Engleski pacijent”, “Provjerena kopija”, “Oblaci nad Sils Marijom”, “Kako biti dobra supruga”, “Dvostruki životi”) i Vincent Lindon (“Titan”), nagrađen u Cannesu za ulogu “Pravog muškarca”. Denis i Binoche već su surađivale na filmovima “Misija: Duboki svemir” i “Isabellino sunce”. Također, Denis je na potonjem filmu scenaristički surađivala i s Angot, kao i sada.

Izvorno naslovljen “Avec amour et acharnement”, što bi značilo “S ljubavlju i bijesom”, “Obje strane oštrice” dobile su naslov za međunarodno tržište prema pjesmi Tindersticksa, snimljenoj posebno za film, odnosno stihovima “I’m sliding down both sides of the blade”.

Niz obje strane oštrice klizi Binochein lik, radijska voditeljica Sara koja je već deset godina s Jeanom (Lindon), bivšim igračem ragbija s nepreciziranim zatvorskim dosjeom. Njih dvoje imaju naizged idiličan i stabilan odnos. Upoznajemo ih na romantičnom odmoru negdje na moru, gdje se nježno ljube i miluju. Romantika je u zraku i kad se vrate u hladni Pariz i zagrljeni promatraju grad s balkona stana.

Pa ipak, stvari nisu tako idilične. Jean je izgubio skrbništvo nad sinom iz prijašnjeg braka, tinejdžerom Marcusom (Issa Perica), koji živi s bakom, njegovom majkom Nelly (Bulle Ogier), a i, nezaposlen, financijski ovisi o Sari, što ljulja njegov ideal muškosti. Sara, pak, jednog jutra na ulici ugleda bivšeg dečka Francoisa (Grégoire Colin), Jeanova nekadašnjeg prijatelja i poslovnog partnera.

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”Vidjela sam Francoisa danas”, kaže ona Jeanu. Prošlo je dosta vremena otkako su Sara i Jean vidjeli Francoisa koji se vratio u Pariz i starom prijatelju/partneru nudi novi posao u sportskoj agenciji. Ponovni ulazak Francoisa u njihov život remeti Sarin odnos s Jeanom i budi neke stare osjećaje u njoj. Ona to ne želi priznati, ali i prije nego što kaže “Kad voliš nekoga, to nikad ne nestaje” Sarine unutarnje turbulencije razotkriva govor tijela, njezine oči i pogledi u krupnom planu.

Binoche, velika francuska zvijezda s međunarodnom karijerom, majstorica je oslikavanja skrivenih tajnovitih osjećaja, čime oplemenjuje i osrednje filmove tipa “Ona koju zamišljaš”, a Denis je snima u krupnim planovima i preslikava uzburkane i suprotive emocije glumičina lika, još jednom razapetog između dvojice muškaraca.

Krupni plan redateljica koristi i prilikom nježnog bliskog susreta i zagrljaja starih ljubavnika Sare i Francoisa, koji djeluje još snažnije i nježnije s obzirom na “novo (ne)normalno”. Kako se film snimao tijekom COVID-19 restrikcija u Francuskoj, korona postoji i u njegovoj stvarnosti te je uklopljena u priču, pa likovi nose maske itd. “Ne zaboravi masku”, čujemo.

Maske imaju i metaforičku ulogu, budući da dosta toga ostaje skriveno i dvosmisleno (Francois kao misterij, razlog zbog kojega je Jean bio u zatvoru, potencijalni homoseksualni odnos njih dvojice). Film kao da se većim dijelom odvija u Sarinoj glavi, gdje arhetipskoj romantičnoj melodrami o ljubavnom trokutu pridodaje elemente erotskog trilera bračne prirode, na tragu “Duboke vode”, samo bez ubojstava.

Romantično-erotski susreti Sare s Francoisom mogu se sagledati i kao vizualizacija njezine mašte ili paralelne stvarnosti, ne nužno zato što ona negira sumnjičavom Jeanu da su se dogodili, nego zbog pomalo snolike fotografije Erica Gautiera (“Grace od Monaka”, “Samo more zna”). Opet, Sarino negiranje sugerira realističnu kompleksnost ljubavnog trokuta. Dvostruki osjećaji sijeku (s) obje strane oštrice.

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Denis od Berlina do Cannesa

Clair Denis je i na ovogodišnjem Cannesu predstavila novi film "Stars At Noon" s Margaret Qualley i Joeom Alwynom u glavnim ulogama za koji je također osvojila nagradu.

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StoryEditorOCM
Film & TVCINEMARK NA FESTIVALU

‘Obje strane oštrice‘: Stare ljubavi u ‘novom (ne)normalnom‘

31. svibnja 2022. - 12:17

Subversive Festival je završio, ali filmovi nastavljaju svoj život. Jedan od njih je francuska romantična melodrama “Obje strane oštrice”. Što je subverzivno u mahom nesubverzivnom žanru romantične drame, pitate se? To što su akteri filma sredovječni ljudi, a ne mladići i djevojke kao posljednjih godina, od “Sumraka” do “Igara gladi” i dalje.

Posrijedi je k tome najzvučniji film iz ovogodišnje etape festivala, inspiriran čitanim romanom “Un tournant de la vie” spisateljice Christine Angot iz 2018. i premijerno prikazan zimus na 72. izdanju Berlinskog festivala.

Iza kamere stoji francuska filmašica Claire Denis (“35 čašica ruma”, “Bijeli materijal”), koja je za ovu režiju osvojila Srebrnog medvjeda na Berlinaleu, a u glavnim ulogama nastupaju oskarovka ...

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13. svibanj 2024 18:58