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Zaron ispod površine mora otvara "Murinu", dugometražni prvijenac Antonete Alamat Kusijanović, koji je doplivao iz Cannesa na otvaranje 68. Pula Film Festivala. Postavljena na nekoliko metara modre dubine, kamera gleda prema površini i nebu iznad nje. Površina je mirna, tek blago uznemirena. Smiraj ne traje dugo.

Ronioci s podvodnim puškama ulaze u kadar i zaranjaju u lov na murinu koja će ugristi jedno od njih dvoje. To je Julija (Gracija Filipović), kćerka strogog oca Ante (Leon Lučev). Ugriz murine Julija ponosno nosi cijeli film na boku, na rubu kostima iz kojeg gotovo da ne izlazi.

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FILM: Murina; Hrvatska/Brazil/SAD/Slovenija, 2021. REŽIJA: Antoneta Alamat Kusijanović ULOGE: Gracija Filipović, Leon Lučev OCJENA: **** ½

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Bio svjetloplavi ili modri, kostim je boje mora u kojem se Julija osjeća kao kod kuće, svakako više nego na kopnu. More je za nju, malu sirenu, bijeg, zaklon, sigurno utočište, a čak i kad je na kopnu, igra se vodom na stihove Magazinove pjesme "Mjesec, mjesec je, pobjegao jutro je, moramo i mi...".

Ispod površine se autoritativni otac na nju ne može derati ili joj naređivati i tjerati je da recitira pjesmu pred gostima, odnosno sve i da to pokuša napraviti, od grubih riječi će ostati samo mali mjehurići i nestati kao kap u moru. Neki od najboljih kadrova filma su podvodni, od spomenutih uvodnih do scene kad Julija pobjegne u dubine, podsjećajući na zaron Shailene Woodley u bazen u "Nasljednicima" Alexandera Paynea, samo bez ispuštenog nijemog vriska pod vodom.

Iznad Julije u tom trenutku površinu mora lagano propara gliser, dovozeći očeva starog prijatelja i bogatog biznismena Javiera (poznati novozelandski glumac Cliff Curtis; "Once Were Warriors", "Collateral Damage"). Ovakve podvodne scene nismo vidjeli unutar hrvatske kinematografije, odnosno jesmo samo u Kusijanovićkinu prethodnom ostvarenju "U plavetnilo", jednom od boljih domaćih kratkih filmova posljednjih godina, nagrađenom na Berlinaleu.

No, opet, do pojave "Murine" nismo vidjeli ni hrvatski film koji je snimila cijenjena i međunarodno angažirana francuska direktorica fotografije Helene Louvart ("Sretni Lazzaro", "Nikad, rijetko, ponekad, uvijek"), kamoli da njegovu odjavnu špicu krasi ime legendarnog redatelja i oskarovca Martina Scorsesea u ulozi izvršnog producenta. Kusijanović je postigla ono što nitko drugi nije i vratila je hrvatsku kinematografiju u Cannes, gdje nije bila od 2015. i "Zvizdana".

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Potencijal iskazan u filmu "U plavetnilo" Kusijanović je opravdala "Murinom" i opet angažirala zanimljivu mladu glumicu Filipović, koja posjeduje nešto od mlade Zrinke Cvitešić, ima životno, a filmično lice i nanovo je autentična u ulozi djevojke željne slobode i bijega od očevih stega. "Murina" je logički korak dalje za Kusijanović, još jedan dojmljivi debi neke hrvatske redateljice nakon "Ne gledaj mi u pijat" Hane Jušić i dobar prilog "novom ženskom valu", kovanici koja pristaje ovome "morskom" filmu.

U prijašnjem uratku Kusijanović je, podsjetimo, zaronila duboko u plavetnilo puberteta i njegovih kompleksnih osjećaja tijekom jednog dugog toplog ljeta, a sada zaranja u obiteljske odnose i režira disciplinirano, sigurno i promišljeno, fino radi s glumcima i pokazuje osjećaj za ugođaj vremena i prostora (ljeto u Dalmaciji).

Napeti odnos sve odvažnije Julije i sve strožeg oca, koji "zna što najbolje za njegovu kćer", puca po šavu dolaskom Javiera da potencijalno kupi njegovu zemlju na kornatskom arhipelagu i sagradi turistički kompleks baš tamo gdje su stradali nesretni mladi vatrogasci.

Tenzije se uvlače i u Antin brak s Julijinom majkom Nelom (danska glumica srpskih korijena Danica Ćurčić; "Ubojice fazana", "Ekvinocij"). Javier je sušta suprotnost primitivnom Anti, pruža Juliji podršku da napusti dom i ode na Harvard, a i zaljubljen je u Nelu, koja "zaslužuje bolje" od toga da sluša muževe ispade, dok njezina kći gleda stranca sve zaljubljenije.

Interakcije likova djeluju prilično autentično zahvaljujući dobrim glumcima. Kad se učini da bi mogle postati "sapuničaste" i repetitivne, Kusijanović poput njezine protagonistice skače s kopna u more, gdje se također prirodnije osjeća i efektno završava film inverzijom uvodne scene. Kamera je postavljena na nebu i gleda nemirnu površinu mora ispod sebe.

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Od Antonete Kusijanović do Maggie Gyllenhaal

Nako što je snimila "Murinu", Helene Louvart će snimati još jedan film Alice Rohrwacher "La chimera", kao i "The Lost Daughter", redateljski prvijenac glumice Maggie Gyllenhaal, u kojem glume oskarovka Olivia Colman i Dakota Johnson.

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Zaron ispod površine mora otvara "Murinu", dugometražni prvijenac Antonete Alamat Kusijanović, koji je doplivao iz Cannesa na otvaranje 68. Pula Film Festivala. Postavljena na nekoliko metara modre dubine, kamera gleda prema površini i nebu iznad nje. Površina je mirna, tek blago uznemirena. Smiraj ne traje dugo.

Ronioci s podvodnim puškama ulaze u kadar i zaranjaju u lov na murinu koja će ugristi jedno od njih dvoje. To je Julija (Gracija Filipović), kćerka strogog oca Ante (Leon Lučev). Ugriz murine Julija ponosno nosi cijeli film na boku, na rubu kostima iz kojeg gotovo da ne izlazi.

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FILM: Murina; Hrvatska/Brazil/SAD/Slovenija, 2021. REŽIJA: Antoneta Alamat Kusijanović ULOGE: Gracija Filipović, Leon Lučev OCJENA: **** ½

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Bio svjetloplavi ili modri, kostim je boje mora u kojem se Julija osjeća kao kod kuće, svakako više nego na kopnu. More je za nju, malu sirenu, bijeg, zaklon, sigurno utočište, a čak i kad je na kopnu, igra se vodom na stihove Magazinove pjesme "Mjesec, mjesec je, pobjegao jutro je, moramo i mi...".

Ispod površine se autoritativni otac na nju ne može derati ili joj naređivati i tjerati je da recitira pjesmu pred gostima, odnosno sve i da to pokuša napraviti, od grubih riječi će ostati samo mali mjehurići i nestati kao kap u moru. Neki od najboljih kadrova filma su podvodni, od spomenutih uvodnih do scene kad Julija pobjegne u dubine, podsjećajući na zaron Shailene Woodley u bazen u "Nasljednicima" Alexandera Paynea, samo bez ispuštenog nijemog vriska pod vodom.

Iznad Julije u tom trenutku površinu mora lagano propara gliser, dovozeći očeva starog prijatelja i bogatog biznismena Javiera (poznati novozelandski glumac Cliff Curtis; "Once Were Warriors", "Collateral Damage"). Ovakve podvodne scene nismo vidjeli unutar hrvatske kinematografije, odnosno jesmo samo u Kusijanovićkinu prethodnom ostvarenju "U plavetnilo", jednom od boljih domaćih kratkih filmova posljednjih godina, nagrađenom na Berlinaleu.

No, opet, do pojave "Murine" nismo vidjeli ni hrvatski film koji je snimila cijenjena i međunarodno angažirana francuska direktorica fotografije Helene Louvart ("Sretni Lazzaro", "Nikad, rijetko, ponekad, uvijek"), kamoli da njegovu odjavnu špicu krasi ime legendarnog redatelja i oskarovca Martina Scorsesea u ulozi izvršnog producenta. Kusijanović je postigla ono što nitko drugi nije i vratila je hrvatsku kinematografiju u Cannes, gdje nije bila od 2015. i "Zvizdana".

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Potencijal iskazan u filmu "U plavetnilo" Kusijanović je opravdala "Murinom" i opet angažirala zanimljivu mladu glumicu Filipović, koja posjeduje nešto od mlade Zrinke Cvitešić, ima životno, a filmično lice i nanovo je autentična u ulozi djevojke željne slobode i bijega od očevih stega. "Murina" je logički korak dalje za Kusijanović, još jedan dojmljivi debi neke hrvatske redateljice nakon "Ne gledaj mi u pijat" Hane Jušić i dobar prilog "novom ženskom valu", kovanici koja pristaje ovome "morskom" filmu.

U prijašnjem uratku Kusijanović je, podsjetimo, zaronila duboko u plavetnilo puberteta i njegovih kompleksnih osjećaja tijekom jednog dugog toplog ljeta, a sada zaranja u obiteljske odnose i režira disciplinirano, sigurno i promišljeno, fino radi s glumcima i pokazuje osjećaj za ugođaj vremena i prostora (ljeto u Dalmaciji).

Napeti odnos sve odvažnije Julije i sve strožeg oca, koji "zna što najbolje za njegovu kćer", puca po šavu dolaskom Javiera da potencijalno kupi njegovu zemlju na kornatskom arhipelagu i sagradi turistički kompleks baš tamo gdje su stradali nesretni mladi vatrogasci.

Tenzije se uvlače i u Antin brak s Julijinom majkom Nelom (danska glumica srpskih korijena Danica Ćurčić; "Ubojice fazana", "Ekvinocij"). Javier je sušta suprotnost primitivnom Anti, pruža Juliji podršku da napusti dom i ode na Harvard, a i zaljubljen je u Nelu, koja "zaslužuje bolje" od toga da sluša muževe ispade, dok njezina kći gleda stranca sve zaljubljenije.

Interakcije likova djeluju prilično autentično zahvaljujući dobrim glumcima. Kad se učini da bi mogle postati "sapuničaste" i repetitivne, Kusijanović poput njezine protagonistice skače s kopna u more, gdje se također prirodnije osjeća i efektno završava film inverzijom uvodne scene. Kamera je postavljena na nebu i gleda nemirnu površinu mora ispod sebe.

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Od Antonete Kusijanović do Maggie Gyllenhaal

Nako što je snimila "Murinu", Helene Louvart će snimati još jedan film Alice Rohrwacher "La chimera", kao i "The Lost Daughter", redateljski prvijenac glumice Maggie Gyllenhaal, u kojem glume oskarovka Olivia Colman i Dakota Johnson.

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StoryEditorOCM
Film & TVCINEMARK NA FESTIVALU

‘Murina‘: U plavetnilu obiteljskih odnosa ili more kao spas od očeve tiranije

Piše Marko Njegić
18. srpnja 2021. - 15:11
18600900
PREMIUM
Galerija

Zaron ispod površine mora otvara "Murinu", dugometražni prvijenac Antonete Alamat Kusijanović, koji je doplivao iz Cannesa na otvaranje 68. Pula Film Festivala. Postavljena na nekoliko metara modre dubine, kamera gleda prema površini i nebu iznad nje. Površina je mirna, tek blago uznemirena. Smiraj ne traje dugo.

Ronioci s podvodnim puškama ulaze u kadar i zaranjaju u lov na murinu koja će ugristi jedno od njih dvoje. To je Julija (Gracija Filipović), kćerka strogog oca Ante (Leon Lučev). Ugriz murine Julija ponosno nosi cijeli film na boku, na rubu kostima iz kojeg gotovo da ne izlazi.

Bio svjetloplavi ili modri, kostim je boje mora u kojem se Julija osjeća kao kod kuće, svakako više nego na kopnu. More je za nju, malu sirenu, bijeg, zaklon, sigurno utočište, a čak i kad je na ...

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