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Seksualizacija religije doseže neku novu razinu u "Benedetti", ali ništa manje se nije ni očekivalo od novog kontroverznog i skandaloznog filma Paula Verhoevena, jednog od najprovokativnijih i najsubverzivnijih redatelja u povijesti kinematografije.

Mislili ste da je hrvatski dokumentarac "Nun of Your Business" kontroverzan sa stvarnom pričom o dvije mlade časne sestre koje se zaljubljuju i napuštaju samostan kako bi započele zajednički život? Promislit ćete još jednom nakon "Benedette" koju smo pretpremijerno pogledali u splitskom kinu "Karaman", a od ovog četvrtka kreće u redovnu kinodistribuciju.

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FILM: Benedetta; drama; Francuska, 2021. REŽIJA: Paul Verhoeven ULOGE: Virginie Efira, Daphné Patakia DISTRIBUCIJA: Discovery OCJENA: ****

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Film 83-godišnjeg Verhoevena također je nadahnut stvarnim događajima o časnoj sestri Benedetti Carlini iz samostana u 17-stoljetnoj Pesciji. Benedetta je imala seksualno-religiozne vizije i dobila stigme (u što se sumnjalo), ali i bila nesumnjiva akterica lezbijske afere s mlađom časnom sestrom iz samostana.

Dakle, priča kao stvorena za nizozemskog režisera koji je u njoj vidio sumaciju bogate karijere od Europe do Hollywooda i natrag, od povijesnog filma "Krv i meso" do psihoseksualnog trilera "Elle". Titularni ženski lik upoznajemo kao djevojčicu (Elena Plonka) na putu prema samostanu u Pesciji, kad nju i njezine roditelje presretnu konjanici pokraj svetišta Djevice Marije i traže nakit.

Lopovi će odustati od pljačke kad im Benedetta kaže da će ih Sveta Majka proganjati do kraja života i jedan od njih dobije "znak s neba" u vidu ptičje kakice koja aterira ravno u njegovo oko. U sceni kakva se mogla odigrati i u "Flesh+Blood", Verhoeven kao da postavlja kasniju dvosmislenost filma, odnosno Benedettinih sposobnosti: je li posrijedi božanska intervencija ili samo slučajnost s tajmingom.

Zarana Verhoeven postavlja i "Benedettine" preokupacije, kad djevojčicu, koja ulazi u samostan noseći zaštitnički drveni kipić Djevice Marije, zagrebe halja, na što joj poruče "Tijelo ti je najgori neprijatelj, nije dobro da ti je u njemu ugodno", kao što će joj kasnije reći i "Pametna si, ali pamet može biti opasna".

Tijelo i tjelesno, seks i seksualno, krv i meso, oduvijek intrigiraju Verhoevena. Sjetimo se samo njegovih filmova "RoboCop", "Potpuno sjećanje", "Sirove strasti", "Showgirls", "Svemirski marinci" i "Čovjek bez tijela". Tjelesno i seksualno sada je u međuigri s duhovnim i božanstvenim, isprepleteno u krvavim stigmama na čelu i rukama Benedette kad odraste (tad je glumi francuska zvijezda Virginie Efira).

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Verhoeven najavljuje to isprepletanje kad poveći kip Djevice Marije s ogoljenom dojkom padne na Bendettu u hodniku samostana, a djevojčica stavi njezinu bradavicu u usta u prvoj u nizu scena koje će podići prašinu i izazvati skandal zbog blasfemije.

Prije nego što postane opsjednuta golim grudima mlade časne sestre, novakinje Bartolomee (Daphné Patakia), "Kristova zaručnica" Benedetta će imati (pri)viđenja da je Isus, poput nekakva viteza na bijelom konju, spašava od zmija i grupnog silovanja, kao i to da je sam uzima ili joj govori "svuci se" nakon što je "dobila njegove rane".

Isus kao da odvraća plavokosu Benedettu od istospolne žudnje spram brinete Bartolomee ili ona pokušava odvratiti samu sebe od grijeha, razapetu između požude i opreza, tj. svog poziva. "Kako ću znati što je stvarno, a što lažno", pita se Benedetta koja je misteriozna i inteligentna poput Catherine Tramell iz "Basic Instinct" i nikad nismo sigurni laže li ili govori istinu, je li "lažna proročica" ili odabranica Isusa koji "preko nje izvršava svoju volju".

Prilično sigurni smo da je privlači Bartolomea i zbog nje će srušiti društvene i religiozne tabue ("Ne smijemo biti gole jedne pred drugima"). Isprve odnos časnih sestara podsjeća na prkosno suparništvo striptizeta u "Showgirls", u sceni kad Benedetta nalaže Bartolomei da izvadi namotke sa svilom iz kipuće vode, samo što se odvija u renesansnom samostanu, umjesto modernom Las Vegasu.

No, s vremenom, njih dvije će se naći u tjelesnom zagrljaju u (s)eksplicitnim prizorima na tragu "Adelina života" i "Amonita", ali uz dodatak drvenog djevičina kipića za penetraciju. "Moj Bože", uzdahnut će Benedetta pred orgazam u drskom filmu koji transcendira puku (s)eksploataciju i voajersku perverziju kao smiona kritika moralne hipokrizije, vjerske manipulacije i seksualne represije, utjelovljene u društvu onog (i ovog) doba, na čelu s Nuncijem iz Firence (Lambert Wilson).

"Svatko ima pravo na grijeh", čujemo, ali kad Benedetta sagriješi i dovede u pitanje "prirodni poredak", iako se samo bori za svoju neovisnost koja, eto, graniči s religioznom revolucijom, ona će u hipu od svetice postati grešnica koja treba biti razapeta kao Isus i gorjeti na lomači poput Ivane Orleanske. "Žena da ženu gleda požudno? Nemoguće", čudi se jedan lik, a Nuncij se nadoveže "očito ovaj samostan širi horizonte mogućeg". Isto to radi i Verhoeven, šireći horizonte (ne)mogućeg s "Benedettom".

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Charlotte Rampling kao nadstojnica samostana

Virginie Efiru smo gledali u filmovima "Ljubav na francuski način", "Sibyl", "Noćna smjena"... Sporednu ulogu Felicite, nadstojnice/časne majke samostana, odigrala je legenda europske kinematografije Charlotte Rampling.

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Seksualizacija religije doseže neku novu razinu u "Benedetti", ali ništa manje se nije ni očekivalo od novog kontroverznog i skandaloznog filma Paula Verhoevena, jednog od najprovokativnijih i najsubverzivnijih redatelja u povijesti kinematografije.

Mislili ste da je hrvatski dokumentarac "Nun of Your Business" kontroverzan sa stvarnom pričom o dvije mlade časne sestre koje se zaljubljuju i napuštaju samostan kako bi započele zajednički život? Promislit ćete još jednom nakon "Benedette" koju smo pretpremijerno pogledali u splitskom kinu "Karaman", a od ovog četvrtka kreće u redovnu kinodistribuciju.

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FILM: Benedetta; drama; Francuska, 2021. REŽIJA: Paul Verhoeven ULOGE: Virginie Efira, Daphné Patakia DISTRIBUCIJA: Discovery OCJENA: ****

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Film 83-godišnjeg Verhoevena također je nadahnut stvarnim događajima o časnoj sestri Benedetti Carlini iz samostana u 17-stoljetnoj Pesciji. Benedetta je imala seksualno-religiozne vizije i dobila stigme (u što se sumnjalo), ali i bila nesumnjiva akterica lezbijske afere s mlađom časnom sestrom iz samostana.

Dakle, priča kao stvorena za nizozemskog režisera koji je u njoj vidio sumaciju bogate karijere od Europe do Hollywooda i natrag, od povijesnog filma "Krv i meso" do psihoseksualnog trilera "Elle". Titularni ženski lik upoznajemo kao djevojčicu (Elena Plonka) na putu prema samostanu u Pesciji, kad nju i njezine roditelje presretnu konjanici pokraj svetišta Djevice Marije i traže nakit.

Lopovi će odustati od pljačke kad im Benedetta kaže da će ih Sveta Majka proganjati do kraja života i jedan od njih dobije "znak s neba" u vidu ptičje kakice koja aterira ravno u njegovo oko. U sceni kakva se mogla odigrati i u "Flesh+Blood", Verhoeven kao da postavlja kasniju dvosmislenost filma, odnosno Benedettinih sposobnosti: je li posrijedi božanska intervencija ili samo slučajnost s tajmingom.

Zarana Verhoeven postavlja i "Benedettine" preokupacije, kad djevojčicu, koja ulazi u samostan noseći zaštitnički drveni kipić Djevice Marije, zagrebe halja, na što joj poruče "Tijelo ti je najgori neprijatelj, nije dobro da ti je u njemu ugodno", kao što će joj kasnije reći i "Pametna si, ali pamet može biti opasna".

Tijelo i tjelesno, seks i seksualno, krv i meso, oduvijek intrigiraju Verhoevena. Sjetimo se samo njegovih filmova "RoboCop", "Potpuno sjećanje", "Sirove strasti", "Showgirls", "Svemirski marinci" i "Čovjek bez tijela". Tjelesno i seksualno sada je u međuigri s duhovnim i božanstvenim, isprepleteno u krvavim stigmama na čelu i rukama Benedette kad odraste (tad je glumi francuska zvijezda Virginie Efira).

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Verhoeven najavljuje to isprepletanje kad poveći kip Djevice Marije s ogoljenom dojkom padne na Bendettu u hodniku samostana, a djevojčica stavi njezinu bradavicu u usta u prvoj u nizu scena koje će podići prašinu i izazvati skandal zbog blasfemije.

Prije nego što postane opsjednuta golim grudima mlade časne sestre, novakinje Bartolomee (Daphné Patakia), "Kristova zaručnica" Benedetta će imati (pri)viđenja da je Isus, poput nekakva viteza na bijelom konju, spašava od zmija i grupnog silovanja, kao i to da je sam uzima ili joj govori "svuci se" nakon što je "dobila njegove rane".

Isus kao da odvraća plavokosu Benedettu od istospolne žudnje spram brinete Bartolomee ili ona pokušava odvratiti samu sebe od grijeha, razapetu između požude i opreza, tj. svog poziva. "Kako ću znati što je stvarno, a što lažno", pita se Benedetta koja je misteriozna i inteligentna poput Catherine Tramell iz "Basic Instinct" i nikad nismo sigurni laže li ili govori istinu, je li "lažna proročica" ili odabranica Isusa koji "preko nje izvršava svoju volju".

Prilično sigurni smo da je privlači Bartolomea i zbog nje će srušiti društvene i religiozne tabue ("Ne smijemo biti gole jedne pred drugima"). Isprve odnos časnih sestara podsjeća na prkosno suparništvo striptizeta u "Showgirls", u sceni kad Benedetta nalaže Bartolomei da izvadi namotke sa svilom iz kipuće vode, samo što se odvija u renesansnom samostanu, umjesto modernom Las Vegasu.

No, s vremenom, njih dvije će se naći u tjelesnom zagrljaju u (s)eksplicitnim prizorima na tragu "Adelina života" i "Amonita", ali uz dodatak drvenog djevičina kipića za penetraciju. "Moj Bože", uzdahnut će Benedetta pred orgazam u drskom filmu koji transcendira puku (s)eksploataciju i voajersku perverziju kao smiona kritika moralne hipokrizije, vjerske manipulacije i seksualne represije, utjelovljene u društvu onog (i ovog) doba, na čelu s Nuncijem iz Firence (Lambert Wilson).

"Svatko ima pravo na grijeh", čujemo, ali kad Benedetta sagriješi i dovede u pitanje "prirodni poredak", iako se samo bori za svoju neovisnost koja, eto, graniči s religioznom revolucijom, ona će u hipu od svetice postati grešnica koja treba biti razapeta kao Isus i gorjeti na lomači poput Ivane Orleanske. "Žena da ženu gleda požudno? Nemoguće", čudi se jedan lik, a Nuncij se nadoveže "očito ovaj samostan širi horizonte mogućeg". Isto to radi i Verhoeven, šireći horizonte (ne)mogućeg s "Benedettom".

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Charlotte Rampling kao nadstojnica samostana

Virginie Efiru smo gledali u filmovima "Ljubav na francuski način", "Sibyl", "Noćna smjena"... Sporednu ulogu Felicite, nadstojnice/časne majke samostana, odigrala je legenda europske kinematografije Charlotte Rampling.

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StoryEditorOCM
Film & TVCINEMARK U KINU

‘Benedetta‘: Sirove strasti časne sestre

Piše Marko Njegić
8. veljače 2022. - 14:08
20823136
PREMIUM
Galerija

Seksualizacija religije doseže neku novu razinu u "Benedetti", ali ništa manje se nije ni očekivalo od novog kontroverznog i skandaloznog filma Paula Verhoevena, jednog od najprovokativnijih i najsubverzivnijih redatelja u povijesti kinematografije.

Mislili ste da je hrvatski dokumentarac "Nun of Your Business" kontroverzan sa stvarnom pričom o dvije mlade časne sestre koje se zaljubljuju i napuštaju samostan kako bi započele zajednički život? Promislit ćete još jednom nakon "Benedette" koju smo pretpremijerno pogledali u splitskom kinu "Karaman", a od ovog četvrtka kreće u redovnu kinodistribuciju.

Film 83-godišnjeg Verhoevena također je nadahnut stvarnim događajima o časnoj sestri Benedetti Carlini iz samostana u 17-stoljetnoj Pesciji. Benedetta je imala seksualno-religi...

#CINEMARK#CINEMARK U KINU #PAUL VERHOEVEN#VIRGINIE EFIRA#BENEDETTA#EUROPSKI FILMOVI#KONTROVERZNI FILMOVI#CHARLOTTE RAMPLING#DAPHNE PATAKIA#LAMBERT WILSON
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