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Sjećate li se momka u kockastoj košulji i šilterici koji je tijekom lanjskog pandemijskog Ponta Lopud Festivala stajao uz bok BiH oskarovcu Danisu Tanoviću i uglednom poljskom redatelju Pawelu Pawlikowskom? Ako je odgovor niječan, ništa za to, za meksičkog redatelja Michela Franca progovaraju njegova djela poput ovog posljednjeg, ponešto izlizanog imena ‘Zalazak sunca‘ (Sundown).

Film o otuđenom nasljedniku britanskog mesnog carstva Neilu Bennettu (Tim Roth) koji s najbližima odmara u mondenom resortu u Acapulcu kratka je psihološka studija o čovjeku u čiju je motivaciju nemoguće proniknuti. Rothov lik je malorijek, više kontemplativan, od onih koji baš žele da ih se ostavi na miru. No, Michel Franco namjerno čeprka po Bennettovoj osobnosti, bolje rečeno secira ono malo što iz nje izlazi na vani dok leži, šeće po pijesku i radi sve što i tisuće dokonih europskih turista na obalama Pacifika. Kad mu pomalo neurotična sestra Alice (Charlotte Gainsburg) javlja o majčinoj smrti, Neil postupa potpuno neuobičajeno, što kod gledatelja budi sumnju u njegovo mentalno stanje.

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Iazua Larios u ulozi Neilove mjesne ljubavnice Berenice

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Radnja ‘ Zalaska sunca‘ odmotava se po principu sporogorućeg štapina, Franco je usporava dok ne postane gotovo otupljujuća, a onda je uz pokoji pucački intermezzo vodi prema završnoj imploziji koja ni približno ne daje cjelovitu dijagnozu glavnog junaka. Ostali protagonisti blijede su i usputne individue na Neilovu camusovskom putu u ništavilo. Gainsbourg na tragediju reagira kako se može očekivati od kćerke, sestre i majke. Njezina filmska djeca Alex i Colin (Albertine Kotting McMillan, Samuel Bottomley) tek su skice, a nešto više emocije daje samo Berenice (Iazua Larios), Neilova usputna lokalna ljubavnica. Michel Franco o Acapulcu progovara iz motrišta zapadnjačkih imućnih turista, opisuje zemljake Meksikance kako poput robota dvore bogatune u ljetovalištima sa ‘zatvorenom koncesijom‘.

Očešao se, možda i zbog dinamike filma, sporadično i o kriminalne skupine u rodnom kraju, vješto zaobilazeći činjenicu da upravo po Acapulcu operira zloglasni kartel Guerrero.

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Charlotte Gainsbourg kao bogata nasljednica mesnog carstva Alice Bennett

---Ubacio je redatelj i ponešto snoviđenja i metafora na temu ribe i nadasve svinjetine, kao svojevrsno objašnjenje ponašanja naslovnog junaka kojega na sreću glumi akter iznimnog kalibra. Da je umjesto Tarantinova miljenika netko drugi u koži tipa koji u (pre)dugoj ekspoziciji odbija od sebe sve i svakog, efekt odbijanja mogao se proširiti i na većinu publike. Ovako, Franco je u dvostrukoj ulozi redatelja i scenarista pobrao ovacije publike na prošloj Mostri. Val oduševljenja ipak je pretjeran jer ‘Zalazak‘ jest po sebi neobičan, ali nije bez slabosti. Primjerice, malo detaljniji prikaz obiteljskog zaleđa dao bi puninu liku koji se uglavnom šutljivo i besciljno kotrlja ekranom.

Michel Franco tek je zagazio u četrdesete i još trasira put kroz fenomene suvremenog meksičkog društva. U tom smislu bolje bi mu se bilo držati formule iz ‘New Ordera‘ (Nuevo orden), plastičnog prikaza nasilne svakodnevice Meksika. Katatoničnost ‘Sumraka‘ nije za svačiji ukus. Zahtjevan je to proizvod za gledanje i neminovno dovodi do zasićenja. Autor je toga itekako svjestan, pa kratkoćom trajanja mudro prevenira dosadu ugrađenu u ovu socijalno- psihološke fresku.

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Tim Roth (Neil Bennett) u napadu apatije u filmu ‘Zalazak sunca‘

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Sjećate li se momka u kockastoj košulji i šilterici koji je tijekom lanjskog pandemijskog Ponta Lopud Festivala stajao uz bok BiH oskarovcu Danisu Tanoviću i uglednom poljskom redatelju Pawelu Pawlikowskom? Ako je odgovor niječan, ništa za to, za meksičkog redatelja Michela Franca progovaraju njegova djela poput ovog posljednjeg, ponešto izlizanog imena ‘Zalazak sunca‘ (Sundown).

Film o otuđenom nasljedniku britanskog mesnog carstva Neilu Bennettu (Tim Roth) koji s najbližima odmara u mondenom resortu u Acapulcu kratka je psihološka studija o čovjeku u čiju je motivaciju nemoguće proniknuti. Rothov lik je malorijek, više kontemplativan, od onih koji baš žele da ih se ostavi na miru. No, Michel Franco namjerno čeprka po Bennettovoj osobnosti, bolje rečeno secira ono malo što iz nje izlazi na vani dok leži, šeće po pijesku i radi sve što i tisuće dokonih europskih turista na obalama Pacifika. Kad mu pomalo neurotična sestra Alice (Charlotte Gainsburg) javlja o majčinoj smrti, Neil postupa potpuno neuobičajeno, što kod gledatelja budi sumnju u njegovo mentalno stanje.

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Iazua Larios u ulozi Neilove mjesne ljubavnice Berenice

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Radnja ‘ Zalaska sunca‘ odmotava se po principu sporogorućeg štapina, Franco je usporava dok ne postane gotovo otupljujuća, a onda je uz pokoji pucački intermezzo vodi prema završnoj imploziji koja ni približno ne daje cjelovitu dijagnozu glavnog junaka. Ostali protagonisti blijede su i usputne individue na Neilovu camusovskom putu u ništavilo. Gainsbourg na tragediju reagira kako se može očekivati od kćerke, sestre i majke. Njezina filmska djeca Alex i Colin (Albertine Kotting McMillan, Samuel Bottomley) tek su skice, a nešto više emocije daje samo Berenice (Iazua Larios), Neilova usputna lokalna ljubavnica. Michel Franco o Acapulcu progovara iz motrišta zapadnjačkih imućnih turista, opisuje zemljake Meksikance kako poput robota dvore bogatune u ljetovalištima sa ‘zatvorenom koncesijom‘.

Očešao se, možda i zbog dinamike filma, sporadično i o kriminalne skupine u rodnom kraju, vješto zaobilazeći činjenicu da upravo po Acapulcu operira zloglasni kartel Guerrero.

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image

Charlotte Gainsbourg kao bogata nasljednica mesnog carstva Alice Bennett

---Ubacio je redatelj i ponešto snoviđenja i metafora na temu ribe i nadasve svinjetine, kao svojevrsno objašnjenje ponašanja naslovnog junaka kojega na sreću glumi akter iznimnog kalibra. Da je umjesto Tarantinova miljenika netko drugi u koži tipa koji u (pre)dugoj ekspoziciji odbija od sebe sve i svakog, efekt odbijanja mogao se proširiti i na većinu publike. Ovako, Franco je u dvostrukoj ulozi redatelja i scenarista pobrao ovacije publike na prošloj Mostri. Val oduševljenja ipak je pretjeran jer ‘Zalazak‘ jest po sebi neobičan, ali nije bez slabosti. Primjerice, malo detaljniji prikaz obiteljskog zaleđa dao bi puninu liku koji se uglavnom šutljivo i besciljno kotrlja ekranom.

Michel Franco tek je zagazio u četrdesete i još trasira put kroz fenomene suvremenog meksičkog društva. U tom smislu bolje bi mu se bilo držati formule iz ‘New Ordera‘ (Nuevo orden), plastičnog prikaza nasilne svakodnevice Meksika. Katatoničnost ‘Sumraka‘ nije za svačiji ukus. Zahtjevan je to proizvod za gledanje i neminovno dovodi do zasićenja. Autor je toga itekako svjestan, pa kratkoćom trajanja mudro prevenira dosadu ugrađenu u ovu socijalno- psihološke fresku.

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Tim Roth (Neil Bennett) u napadu apatije u filmu ‘Zalazak sunca‘

Iazua Larios u ulozi Neilove mjesne ljubavnice Berenice

Charlotte Gainsbourg kao bogata nasljednica mesnog carstva Alice Bennett
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ZabavaFILM TJEDNA

Zalazak sunca: Tarantinov miljenik Tim Roth spašava dramu koja se otupljujuće sporo odmotava i zapostavlja karakterizaciju likova

Piše Gabrijela Bijelić
29. kolovoza 2022. - 14:29
&lt;p&gt;Tim Roth (Neil Bennett) u napadu apatije u filmu ‘Zalazak sunca‘&lt;/p&gt;
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Tim Roth (Neil Bennett) u napadu apatije u filmu ‘Zalazak sunca‘

Sjećate li se momka u kockastoj košulji i šilterici koji je tijekom lanjskog pandemijskog Ponta Lopud Festivala stajao uz bok BiH oskarovcu Danisu Tanoviću i uglednom poljskom redatelju Pawelu Pawlikowskom? Ako je odgovor niječan, ništa za to, za meksičkog redatelja Michela Franca progovaraju njegova djela poput ovog posljednjeg, ponešto izlizanog imena ‘Zalazak sunca‘ (Sundown).

Film o otuđenom nasljedniku britanskog mesnog carstva Neilu Bennettu (Tim Roth) koji s najbližima odmara u mondenom resortu u Acapulcu kratka je psihološka studija o čovjeku u čiju je motivaciju nemoguće proniknuti. Rothov lik je malorijek, više kontemplativan, od onih koji baš žele da ih se ostavi na miru. No, Michel Franco namjerno čeprka po Bennettovoj osobnosti, bolje rečeno secira ono malo što iz nje izlazi na vani dok leži, šeće po pijesku i radi sve što i tisuće dokonih europskih turista na obalama Pacifika. Kad mu pomalo neurotična sestra Alice (Charlotte Gainsburg) javlja o majčinoj smrti, Neil postupa potpuno neuobičajeno, što kod gledatelja budi sumnju u njegovo mentalno stanje.

image

Iazua Larios u ulozi Neilove mjesne ljubavnice Berenice

Radnja ‘ Zalaska sunca‘ odmotava se po principu sporogorućeg štapina, Franco je usporava dok ne postane gotovo otupljujuća, a onda je uz pokoji pucački intermezzo vodi prema završnoj imploziji koja ni približno ne daje cjelovitu dijagnozu glavnog junaka. Ostali protagonisti blijede su i usputne individue na Neilovu camusovskom putu u ništavilo. Gainsbourg na tragediju reagira kako se može očekivati od kćerke, sestre i majke. Njezina filmska djeca Alex i Colin (Albertine Kotting McMillan, Samuel Bottomley) tek su skice, a nešto više emocije daje samo Berenice (Iazua Larios), Neilova usputna lokalna ljubavnica. Michel Franco o Acapulcu progovara iz motrišta zapadnjačkih imućnih turista, opisuje zemljake Meksikance kako poput robota dvore bogatune u ljetovalištima sa ‘zatvorenom koncesijom‘.

Očešao se, možda i zbog dinamike filma, sporadično i o kriminalne skupine u rodnom kraju, vješto zaobilazeći činjenicu da upravo po Acapulcu operira zloglasni kartel Guerrero.

image

Charlotte Gainsbourg kao bogata nasljednica mesnog carstva Alice Bennett

Ubacio je redatelj i ponešto snoviđenja i metafora na temu ribe i nadasve svinjetine, kao svojevrsno objašnjenje ponašanja naslovnog junaka kojega na sreću glumi akter iznimnog kalibra. Da je umjesto Tarantinova miljenika netko drugi u koži tipa koji u (pre)dugoj ekspoziciji odbija od sebe sve i svakog, efekt odbijanja mogao se proširiti i na većinu publike. Ovako, Franco je u dvostrukoj ulozi redatelja i scenarista pobrao ovacije publike na prošloj Mostri. Val oduševljenja ipak je pretjeran jer ‘Zalazak‘ jest po sebi neobičan, ali nije bez slabosti. Primjerice, malo detaljniji prikaz obiteljskog zaleđa dao bi puninu liku koji se uglavnom šutljivo i besciljno kotrlja ekranom.

Michel Franco tek je zagazio u četrdesete i još trasira put kroz fenomene suvremenog meksičkog društva. U tom smislu bolje bi mu se bilo držati formule iz ‘New Ordera‘ (Nuevo orden), plastičnog prikaza nasilne svakodnevice Meksika. Katatoničnost ‘Sumraka‘ nije za svačiji ukus. Zahtjevan je to proizvod za gledanje i neminovno dovodi do zasićenja. Autor je toga itekako svjestan, pa kratkoćom trajanja mudro prevenira dosadu ugrađenu u ovu socijalno- psihološke fresku.

#FILM TJEDNA#SUMRAK#KINEMATOGRAFI DUBROVNIK
13. svibanj 2024 03:21