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Glumica Vanessa Kirby se još od osvojene nagrade na Venecijanskom festivalu spominje kao moguća oskarovska nominentica ili dobitnica zlatnog kipića za ulogu u filmu "Krhotine žene" koji je Netflix kupio za distribuciju i netom plasirao na svoju platformu. Mlada Vanessa je odigrala tešku ulogu u teškoj drami i venecijanski žiri joj je dao prednost čak ispred jedne Frances McDormand ("Nomadland").

Velika je šansa da se, na koncu, Kirby doista nađe u utrci za Oscara zajedno s oskarovski već dvaput potvrđenom McDormandicom. Možda joj se pridruže i kolege iz filma Shia LaBeouf i, naročito, veteranka Ellen Burstyn koja ima jedan "oskarovski" monolog kao stvoren za montažu prilikom predstavljanja nominiranih glumaca.

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FILM: Pieces of a Woman; drama; SAD/Kanada/Mađarska, 2020. REŽIJA: Kornél Mundruczó ULOGE: Vanessa Kirby, Shia LaBeouf OCJENA: *** ½

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"Pieces of a Woman" redateljsko-scenarističkog para Kornél Mundruczó-Kata Weber film je odličnih glumaca i uloga, ali nije i sam ispao odličan kako se činilo da hoće sudeći po impresivnom, nezaboravnom, pa i prijelomnom uvodu.

Mađarski režiser Mundruczó, poznat po filmovima iz Cannesa "Bijeli bog" i "Jupiterov mjesec" za koje je Weber napisala scenarije, orkestrirao je u svom američkom prvijencu sekvenciju poroda Marthe Weiss (Kirby) u realnom vremenu od nekih 20-ak minuta do pola sata, k tome većinski u jednom neprekinutom kadru, s kamerom iz ruke.

Porod se odvija kod kuće, uz prisustvo Marthina partnera Seana (LaBeouf) i zamjenske babice Eve Woodward (Molly Parker), a ispraćen je od trenutka kad je Marthi pukao vodenjak pa do dolaska na svijet kćerkice koja, nažalost, neće dugo poživjeti.

Kamera je sveprisutna, kreće se od jednog do drugog i trećeg lika, zauzima neobične rakurse, hvata sva nadanja i sve brige aktera, sve emocije i sva raspoloženja, istodobnu sreću i paniku od roditeljstva, kao i vanjski prijelom srca kad čedo poplavi i umre.

Sve to osjećaju likovi zaslugom redatelja, snimatelja i glumaca, s njima i gledatelj na kojeg je uspješno prenesen njihov doživljaj. Rezultat je ekstatično, intenzivno i, naposlijetku tragično filmsko iskustvo opipljive intimnosti i sirovih emocija kakvom dosad nismo svjedočili u scenama poroda.

Mundruczó i Weber utemeljili su "Krhotine žene" na vlastitoj tragediji kad su ostali bez djeteta tik nakon poroda. To se osjeti u drami iz kategorije "nešto sasvim osobno" gdje je sreća kratkog vijeka, a ljubav i egzistencija lomljiva poput stakla, kadra urušiti se poput mosta koji povezuje dvoje ljudi.

Film se, simbolično, otvara gradnjom mosta pod nadgledanjem građevinskog radnika Seana, nakon čega on hita doma biti s Marthom, direktoricom u nekoj firmi, kako bi bio uz nju na porodu. Most će se naposlijetku sagraditi kao simbol Marthina oporavka, ali do temelja će se srušiti njihov odnos koji je ionako bio na tankim nogama zbog društvenih razlika i njezine bogate, despotske majke (Burstyn), neprijateljski nastrojene prema zetu.

Lijepe metaforike ne nedostaje u filmu, jer tu su i jabuke koje Martha jede i skuplja sjemenke, kao zametke novog života tijekom njezine odiseje u svemiru nezamislive tuge i bola. Kirby je dojmljiva, često podcijenjeni LaBeouf još i dojmljiviji, tj. nepatvoreniji u emocijama.

Muško-ženski par iza kamere prikazao je i njegovu, ne samo njezinu, stranu priče, a glumčeva "metodska" nepredvidljivost u ulozi rezultirala je nekim od najsnažnijih scena filma, primjerice kad Sean pogodi Marthu loptom za jogu koju će ona ispuhati žarom cigarete, ispuhujući zadnji dah njihova odnosa.

LaBeuf i Kirby udahnjuju život likovima i prava je šteta da se film u drugoj polovici odmiče od njihove intimnosti i useljava u sudnicu, prateći senzacionalistički slučaj babice optužene za ubojstvo iz nehaja, pod ravnanjem obiteljske odvjetnice Suzanne (Sarah Snook).

Nesvakidašnje prikazana domestikalna tragedija jednog para pretvara se u tipičnu sudsku dramu koja samo odvlači pozornost i uvlači hladnoću u film ionako festivalski režiran sve hladnije kako se priča odmiče, premda u skladu sa zahlađenjem odnosa Marthe i Seana. Gledatelj, isprve tako investiran u likove, na kraju balade ostaje distanciran skupljajući posljednje krhotine srca jedne žene.

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Brat Safdie s ove strane kamere

U manjoj ulozi prodavača automobila gledamo Bennyja Safdieja, jednog od dvojice redateljske braće Safdie ("Paklena noć", "Nebrušeni dijamanti").

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Glumica Vanessa Kirby se još od osvojene nagrade na Venecijanskom festivalu spominje kao moguća oskarovska nominentica ili dobitnica zlatnog kipića za ulogu u filmu "Krhotine žene" koji je Netflix kupio za distribuciju i netom plasirao na svoju platformu. Mlada Vanessa je odigrala tešku ulogu u teškoj drami i venecijanski žiri joj je dao prednost čak ispred jedne Frances McDormand ("Nomadland").

Velika je šansa da se, na koncu, Kirby doista nađe u utrci za Oscara zajedno s oskarovski već dvaput potvrđenom McDormandicom. Možda joj se pridruže i kolege iz filma Shia LaBeouf i, naročito, veteranka Ellen Burstyn koja ima jedan "oskarovski" monolog kao stvoren za montažu prilikom predstavljanja nominiranih glumaca.

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FILM: Pieces of a Woman; drama; SAD/Kanada/Mađarska, 2020. REŽIJA: Kornél Mundruczó ULOGE: Vanessa Kirby, Shia LaBeouf OCJENA: *** ½

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"Pieces of a Woman" redateljsko-scenarističkog para Kornél Mundruczó-Kata Weber film je odličnih glumaca i uloga, ali nije i sam ispao odličan kako se činilo da hoće sudeći po impresivnom, nezaboravnom, pa i prijelomnom uvodu.

Mađarski režiser Mundruczó, poznat po filmovima iz Cannesa "Bijeli bog" i "Jupiterov mjesec" za koje je Weber napisala scenarije, orkestrirao je u svom američkom prvijencu sekvenciju poroda Marthe Weiss (Kirby) u realnom vremenu od nekih 20-ak minuta do pola sata, k tome većinski u jednom neprekinutom kadru, s kamerom iz ruke.

Porod se odvija kod kuće, uz prisustvo Marthina partnera Seana (LaBeouf) i zamjenske babice Eve Woodward (Molly Parker), a ispraćen je od trenutka kad je Marthi pukao vodenjak pa do dolaska na svijet kćerkice koja, nažalost, neće dugo poživjeti.

Kamera je sveprisutna, kreće se od jednog do drugog i trećeg lika, zauzima neobične rakurse, hvata sva nadanja i sve brige aktera, sve emocije i sva raspoloženja, istodobnu sreću i paniku od roditeljstva, kao i vanjski prijelom srca kad čedo poplavi i umre.

Sve to osjećaju likovi zaslugom redatelja, snimatelja i glumaca, s njima i gledatelj na kojeg je uspješno prenesen njihov doživljaj. Rezultat je ekstatično, intenzivno i, naposlijetku tragično filmsko iskustvo opipljive intimnosti i sirovih emocija kakvom dosad nismo svjedočili u scenama poroda.

Mundruczó i Weber utemeljili su "Krhotine žene" na vlastitoj tragediji kad su ostali bez djeteta tik nakon poroda. To se osjeti u drami iz kategorije "nešto sasvim osobno" gdje je sreća kratkog vijeka, a ljubav i egzistencija lomljiva poput stakla, kadra urušiti se poput mosta koji povezuje dvoje ljudi.

Film se, simbolično, otvara gradnjom mosta pod nadgledanjem građevinskog radnika Seana, nakon čega on hita doma biti s Marthom, direktoricom u nekoj firmi, kako bi bio uz nju na porodu. Most će se naposlijetku sagraditi kao simbol Marthina oporavka, ali do temelja će se srušiti njihov odnos koji je ionako bio na tankim nogama zbog društvenih razlika i njezine bogate, despotske majke (Burstyn), neprijateljski nastrojene prema zetu.

Lijepe metaforike ne nedostaje u filmu, jer tu su i jabuke koje Martha jede i skuplja sjemenke, kao zametke novog života tijekom njezine odiseje u svemiru nezamislive tuge i bola. Kirby je dojmljiva, često podcijenjeni LaBeouf još i dojmljiviji, tj. nepatvoreniji u emocijama.

Muško-ženski par iza kamere prikazao je i njegovu, ne samo njezinu, stranu priče, a glumčeva "metodska" nepredvidljivost u ulozi rezultirala je nekim od najsnažnijih scena filma, primjerice kad Sean pogodi Marthu loptom za jogu koju će ona ispuhati žarom cigarete, ispuhujući zadnji dah njihova odnosa.

LaBeuf i Kirby udahnjuju život likovima i prava je šteta da se film u drugoj polovici odmiče od njihove intimnosti i useljava u sudnicu, prateći senzacionalistički slučaj babice optužene za ubojstvo iz nehaja, pod ravnanjem obiteljske odvjetnice Suzanne (Sarah Snook).

Nesvakidašnje prikazana domestikalna tragedija jednog para pretvara se u tipičnu sudsku dramu koja samo odvlači pozornost i uvlači hladnoću u film ionako festivalski režiran sve hladnije kako se priča odmiče, premda u skladu sa zahlađenjem odnosa Marthe i Seana. Gledatelj, isprve tako investiran u likove, na kraju balade ostaje distanciran skupljajući posljednje krhotine srca jedne žene.

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Brat Safdie s ove strane kamere

U manjoj ulozi prodavača automobila gledamo Bennyja Safdieja, jednog od dvojice redateljske braće Safdie ("Paklena noć", "Nebrušeni dijamanti").

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Film & TVCINEMARK U KUĆNOM KINU

‘Krhotine žene‘: Ljubav lomljiva poput stakla

Piše Marko Njegić
13. siječnja 2021. - 23:46
15776246
PREMIUM
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Glumica Vanessa Kirby se još od osvojene nagrade na Venecijanskom festivalu spominje kao moguća oskarovska nominentica ili dobitnica zlatnog kipića za ulogu u filmu "Krhotine žene" koji je Netflix kupio za distribuciju i netom plasirao na svoju platformu. Mlada Vanessa je odigrala tešku ulogu u teškoj drami i venecijanski žiri joj je dao prednost čak ispred jedne Frances McDormand ("Nomadland").

Velika je šansa da se, na koncu, Kirby doista nađe u utrci za Oscara zajedno s oskarovski već dvaput potvrđenom McDormandicom. Možda joj se pridruže i kolege iz filma Shia LaBeouf i, naročito, veteranka Ellen Burstyn koja ima jedan "oskarovski" monolog kao stvoren za montažu prilikom predstavljanja nominiranih glumaca.

"Pieces of a Woman" redateljsko-scenarističkog para Kornél...

#CINEMARK#CINEMARK U KUĆNOM KINU#DRAME#VANESSA KIRBY#SHIA LABEOUF#KORNEL MUNDRUCZO
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