SD Dojavi
OSMRTNICE
PRETPLATA
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Duologija "Suvenir", poluautobiografski projekt britanske redateljice Joanne Hogg, postala je kompletna s drugim dijelom hvaljenog filma iz 2019. godine. "Souvenir Part II" upravo je premijerno osvanuo na hrvatskom "online" videotržištu, konkretno u "A1 Videoteci".

Hogg je u startu planirala dva filma i nastavak ne djeluje usiljeno, naprotiv. Filmovi su kao dvije polovice slomljenog srca, sada spojene da tvore jed(instve)nu cjelinu, premda se mogu gledati i zasebno, posebno drugi, neovisno o tome što se nastavlja direktno na prvi.

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FILM: Souvenir Part II; drama; Velika Britanija, 2021. REŽIJA: Joanna Hogg ULOGE: Honor Swinton Byrne, Harris Dickinson OCJENA: ****

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Sjetimo se, u prvom dijelu, ambijentiranom u Britaniju sredinom osamdesetih, upoznali smo protagonisticu, studenticu škole filma Julie (Honor Swinton Byrne, kćerka oskarovke Tilde koja opet glumi mamu njezina lika). Ona se zaljubila u karizmatičnog i misterioznog starijeg muškarca Anthonyja (Tom Burke), velikog fana kinematografije i redatelja Michaela Powella i Emerica Pressburgera.

Veza je bila burna, a ljubav se pokazala nesretnom: Anthony, ovisnik o heroinu, umro je od predoziranja. Likovima "Suvenira" bila su puna usta filmaša i filmova: među ostalim je spomenut i Jacques Rivette, debatiralo se o Hitchcockovu hororu "Psiho" i orkestrirana je zgodna referencija na Caprinu romantičnu komediju "Dogodilo se jedne noći".

Tako, logično je da je "Souvenir Part II" još filmofilskiji i metafilmskiji. Štoviše, ovo je jedan od najmetafilmskijih "meta" filmova posljednjih godina, ako ne i uopće, koji ima još veću autobiografsku, ispovjednu, memoarsku i samorefleksivnu notu u odnosu na prethodnika.

Naime, u nastavku Julie snima film inspiriran događajima iz "Suvenira" i rekreira svoju romansu s Anthonyjem kako bi procesuirala tugu. Istovremeno s njom nešto slično radi i redateljica Hogg, snimajući film o snimanju filma o događajima koje je i sama iskusila i prenijela na Julie kao svoj alter ego, oslanjajući se na izliječujuće, katarzične moći kinematografije na filmaše i gledatelje. Dakle, "meta" na kvadrat.

Naime, Julie, kao i Hogg, želi dati "doprinos kinematografiji", ali nije zainteresirana za komercijalne futurističke filmove o "izvanzemaljcima, borbama"..., što sugerira i onaj "part II" u naslovu kakav je koristio nastavak "Kuma". "Želim prikazati život kako ga ja zamišljam, to je film", kaže ona profesorima, što će zazvučati poznato.

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Svatko tko je gledao prvi "Souvenir" sjetit će se da je Anthony rekao "Ne želimo vidjeti život kako se odigrava nego kako se doživljava". "Suvenir 2. dio" je negdje između života kako se odigrava i zamišlja/doživljava. Između života i filma, ali naklonjeniji filmu, i to festivalske art vrste, kakav je bio i prethodnik.

Ipak, metafilmska potka razlikuje "Souvenir Part II" od "Suvenira". Najbolji dijelovi nastavka tiču se snimanja Julieina filma s glumcima u ulogama Anthonyja (Harris Dickinson; "Štakori s plaže", "King's Man: Početak") i nje same (Ariane Labed, zaštitni znak "grčkog čudnog vala").

U tom procesu magli se granica između stvarnog i konstruiranog, kreacije i rekreacije života i filma koji imitiraju jedno drugo i pretapaju se poput sjećanja i snova. Za Hogg i Julie nema života bez filma i obratno. Jer, "Souvenir Part II" i jest film o filmu o životu i filmaštvu, osoban, dostojan pa i superioran nastavak koji retrospektivno čini original (još) boljim.

Jedina mana "Suvenira" bila je pomalo distancirana režija, karakteristična za mnoga festivalska art ostvarenja, što nastavak premošćuje i znatno je filmičniji i režijski zaigraniji, osobito prema kraju. Referencijama Hogg pokriva kinematografiju od Wellesova "Građanina Kanea" i "Dame iz Šangaja" do Powellovovih i Pressburgerovih "Crvenih cipelica" i Fellinijeva "Osam i pol" do Almodovarove "Tuge i slave", od fantazije do eksperimentalnog filma.

Kad Juliein film, nazvan "Souvenir", doživi kinopremijeru, ona u jednom trenutku na ekranu unutar ekrana prolazi kroz sobu s ogledalima i Hogg režira najbolju i najsimboličniju scenu. Julie je replicirana u odrazima između njezine prošlosne i sadašnje verzije, "Suvenira" i "Suvenira 2", za kinematografsku vječnost.

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Slijedi iskorak u žanrovski film

Hogg priprema prvi žanrovski film, hororsku priču o duhovima. Moglo bi biti zanimljivo.

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Duologija "Suvenir", poluautobiografski projekt britanske redateljice Joanne Hogg, postala je kompletna s drugim dijelom hvaljenog filma iz 2019. godine. "Souvenir Part II" upravo je premijerno osvanuo na hrvatskom "online" videotržištu, konkretno u "A1 Videoteci".

Hogg je u startu planirala dva filma i nastavak ne djeluje usiljeno, naprotiv. Filmovi su kao dvije polovice slomljenog srca, sada spojene da tvore jed(instve)nu cjelinu, premda se mogu gledati i zasebno, posebno drugi, neovisno o tome što se nastavlja direktno na prvi.

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FILM: Souvenir Part II; drama; Velika Britanija, 2021. REŽIJA: Joanna Hogg ULOGE: Honor Swinton Byrne, Harris Dickinson OCJENA: ****

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Sjetimo se, u prvom dijelu, ambijentiranom u Britaniju sredinom osamdesetih, upoznali smo protagonisticu, studenticu škole filma Julie (Honor Swinton Byrne, kćerka oskarovke Tilde koja opet glumi mamu njezina lika). Ona se zaljubila u karizmatičnog i misterioznog starijeg muškarca Anthonyja (Tom Burke), velikog fana kinematografije i redatelja Michaela Powella i Emerica Pressburgera.

Veza je bila burna, a ljubav se pokazala nesretnom: Anthony, ovisnik o heroinu, umro je od predoziranja. Likovima "Suvenira" bila su puna usta filmaša i filmova: među ostalim je spomenut i Jacques Rivette, debatiralo se o Hitchcockovu hororu "Psiho" i orkestrirana je zgodna referencija na Caprinu romantičnu komediju "Dogodilo se jedne noći".

Tako, logično je da je "Souvenir Part II" još filmofilskiji i metafilmskiji. Štoviše, ovo je jedan od najmetafilmskijih "meta" filmova posljednjih godina, ako ne i uopće, koji ima još veću autobiografsku, ispovjednu, memoarsku i samorefleksivnu notu u odnosu na prethodnika.

Naime, u nastavku Julie snima film inspiriran događajima iz "Suvenira" i rekreira svoju romansu s Anthonyjem kako bi procesuirala tugu. Istovremeno s njom nešto slično radi i redateljica Hogg, snimajući film o snimanju filma o događajima koje je i sama iskusila i prenijela na Julie kao svoj alter ego, oslanjajući se na izliječujuće, katarzične moći kinematografije na filmaše i gledatelje. Dakle, "meta" na kvadrat.

Naime, Julie, kao i Hogg, želi dati "doprinos kinematografiji", ali nije zainteresirana za komercijalne futurističke filmove o "izvanzemaljcima, borbama"..., što sugerira i onaj "part II" u naslovu kakav je koristio nastavak "Kuma". "Želim prikazati život kako ga ja zamišljam, to je film", kaže ona profesorima, što će zazvučati poznato.

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Svatko tko je gledao prvi "Souvenir" sjetit će se da je Anthony rekao "Ne želimo vidjeti život kako se odigrava nego kako se doživljava". "Suvenir 2. dio" je negdje između života kako se odigrava i zamišlja/doživljava. Između života i filma, ali naklonjeniji filmu, i to festivalske art vrste, kakav je bio i prethodnik.

Ipak, metafilmska potka razlikuje "Souvenir Part II" od "Suvenira". Najbolji dijelovi nastavka tiču se snimanja Julieina filma s glumcima u ulogama Anthonyja (Harris Dickinson; "Štakori s plaže", "King's Man: Početak") i nje same (Ariane Labed, zaštitni znak "grčkog čudnog vala").

U tom procesu magli se granica između stvarnog i konstruiranog, kreacije i rekreacije života i filma koji imitiraju jedno drugo i pretapaju se poput sjećanja i snova. Za Hogg i Julie nema života bez filma i obratno. Jer, "Souvenir Part II" i jest film o filmu o životu i filmaštvu, osoban, dostojan pa i superioran nastavak koji retrospektivno čini original (još) boljim.

Jedina mana "Suvenira" bila je pomalo distancirana režija, karakteristična za mnoga festivalska art ostvarenja, što nastavak premošćuje i znatno je filmičniji i režijski zaigraniji, osobito prema kraju. Referencijama Hogg pokriva kinematografiju od Wellesova "Građanina Kanea" i "Dame iz Šangaja" do Powellovovih i Pressburgerovih "Crvenih cipelica" i Fellinijeva "Osam i pol" do Almodovarove "Tuge i slave", od fantazije do eksperimentalnog filma.

Kad Juliein film, nazvan "Souvenir", doživi kinopremijeru, ona u jednom trenutku na ekranu unutar ekrana prolazi kroz sobu s ogledalima i Hogg režira najbolju i najsimboličniju scenu. Julie je replicirana u odrazima između njezine prošlosne i sadašnje verzije, "Suvenira" i "Suvenira 2", za kinematografsku vječnost.

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Slijedi iskorak u žanrovski film

Hogg priprema prvi žanrovski film, hororsku priču o duhovima. Moglo bi biti zanimljivo.

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StoryEditorOCM
Film & TVCINEMARK U KUĆNOM KINU

‘Suvenir 2. dio‘: Druga polovica slomljenog srca ili život u odrazu filma i film u odrazu života

Piše Marko Njegić
17. svibnja 2022. - 22:37
22022002
PREMIUM
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Duologija "Suvenir", poluautobiografski projekt britanske redateljice Joanne Hogg, postala je kompletna s drugim dijelom hvaljenog filma iz 2019. godine. "Souvenir Part II" upravo je premijerno osvanuo na hrvatskom "online" videotržištu, konkretno u "A1 Videoteci".

Hogg je u startu planirala dva filma i nastavak ne djeluje usiljeno, naprotiv. Filmovi su kao dvije polovice slomljenog srca, sada spojene da tvore jed(instve)nu cjelinu, premda se mogu gledati i zasebno, posebno drugi, neovisno o tome što se nastavlja direktno na prvi.

Sjetimo se, u prvom dijelu, ambijentiranom u Britaniju sredinom osamdesetih, upoznali smo protagonisticu, studenticu škole filma Julie (Honor Swinton Byrne, kćerka oskarovke Tilde koja opet glumi mamu njezina lika). Ona se zaljubila u karizmatičnog i miste...

#CINEMARK#CINEMARK U KUĆNOM KINU#NASTAVCI#DRAME#FESTIVALSKI FILMOVI#FESTIVALSKI/ART FILMOVI#JOANNA HOGG#HONOR SWINTON BYRNE#TILDA SWINTON
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20. svibanj 2024 12:55