SD Dojavi
OSMRTNICE
PRETPLATA
PREMIUM
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Svega jednu nominaciju za europskog Oscara zabilježio je izuzetni britanski film “Poslije sunca” (“Aftersun”). Bila je to zaslužena nominacija za najboljeg glumca Paula Mescala, poznatog po ulogama u seriji “Normalni ljudi” i filmu “Mračna kći”. No, “Poslije sunca” je zavrijedio i nominaciju još barem za najbolji film i (debitantsku) režiju Charlotte Wells.

“Aftersun” je jedan od najboljih filmova godine, svakako superiorniji nominiranom “Svetom pauku” ili “Korzetu”, a Wells ga je režirala kao da joj ovo nije prvi dugometražni uradak. Talent škotske filmašice prepoznao je oskarovac Barry Jenkins (“Moonlight”, “Ulica Beale”) i producirao njezin prvijenac, iznimno poetičan i osoban komad melankolične, pa i elegične drame.

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FILM: Aftersun; drama; Velika Britanija, 2022. REŽIJA: Charlotte Wells ULOGE: Paul Mescal, Frankie Corio OCJENA: *****

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Wells je snimila autobiografski film za nezaborav prema vlastitoj (re)kolekciji sjećanja na tatu. Neka sjećanja su stvarna, ovjekovječena videokamerom, neka imaginarna, ali svejedno djeluju proživljeno, premda su se možda odigrala samo u mislima ili bila idealizirana.

“Poslije sunca” boravi na tankoj granici između činjenice i fikcije, zabilježenog i zapamćenog, onoga što se zapravo i možda dogodilo, s kadrovima koji prenose osjećaj listanja fotografija iz starih obiteljskih albuma kad ste bili djeca.

U centru priče nalaze se 11-godišnjakinja Sophie (odlična debitantica Frankie Corio) i njezin mladi tata Callum (Mescal) koji provode ljeto na odmoru u Turskoj prije početka nove školske godine i njezina povratka mami.

Sophie u uvodnoj sceni snima tatu i pita ga “Kad si imao 11, što si mislio da ćeš raditi danas?” (kasnije će ga pitati i “Što si ti radio za jedanaesti rođendan?”), a Wells umjesto Callumova odgovora bira montažni rez na flešbek i prikazuje ga na techno partyju pod stroboskopskim svjetlima kluba.

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To će postati ponavljajući (i proganjajući) kadar filma na rubu nadrealnog, poput neke slike koja vam se konstantno vrti u glavi i ne možete je izbaciti odatle. Uvod je bitan jer postavlja priču iz perspektive pametne Sophie, ali i sugerira da Callum nije u dobi od 11 mislio da će mu se život razviti ovako kako se razvio.

Mescal je izvrstan u prikrivanju tjeskobe lika: Callum je prerano postao (razvedeni) otac, ali voli svoju kćerku najviše na svijetu i zaštitnički traži od nje obećanje da, kad odraste, neće oklijevati da mu govori o dečkima, partyjima i drogi (“Možeš pričati sa mnom o svemu”).

Otac nastoji da njegova unutarnja trvenja ne pokvare ljetnu zabavu i lijepe momente za neko buduće sjećanje koji su, prema svemu sudeći, bili njihovi posljednji zajednički trenuci. Zahvaljujući glumcima i redateljici likovi odišu bogatim unutarnjim životima.

Odraslu Sophie (pojavljuje se u nekoliko navrata i glumi je Celia Rowlson-Hall) interesira što se tad motalo po glavi tate tijekom njezina formativnog ljeta s prvim poljupcem itd., kad ona neke stvari nije još mogla pojmiti, koliko god sve bolje opažala svijet odraslih u koji pogledava kroz ključanicu, slušajući razgovor starijih djevojaka. Kao da danas želi tatu pitati kako je, doznati je li (bio) dobro, zagrliti ga snažno.

Sjajan kao drama o odrastanju, još bolji kao film o odnosu tate i kćerke, “Aftersun” je prepun nezaboravnih scena, primjerice kad Sophie u prvom planu spava u krevetu, a Callum se na balkonu giba u ritmu kćerkina disanja ili kad vrata na aerodromu vode ravno u klub. Najnezaboravnija scena ozvučena je pjesmom “Under Pressure” i postavljena na plesni podij, gdje će Sophie zaplesati s ocem kroz vrijeme i prostor u zajedničkom trenutku za vječnost.

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Hrvatska premijera na ZFF-u

"Poslije sunca" je hrvatsku premijeru imao na ZFF-u. Bilo bi lijepo i da dobije redovnu kinodistribuciju koja zasad još nije najavljena.

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Svega jednu nominaciju za europskog Oscara zabilježio je izuzetni britanski film “Poslije sunca” (“Aftersun”). Bila je to zaslužena nominacija za najboljeg glumca Paula Mescala, poznatog po ulogama u seriji “Normalni ljudi” i filmu “Mračna kći”. No, “Poslije sunca” je zavrijedio i nominaciju još barem za najbolji film i (debitantsku) režiju Charlotte Wells.

“Aftersun” je jedan od najboljih filmova godine, svakako superiorniji nominiranom “Svetom pauku” ili “Korzetu”, a Wells ga je režirala kao da joj ovo nije prvi dugometražni uradak. Talent škotske filmašice prepoznao je oskarovac Barry Jenkins (“Moonlight”, “Ulica Beale”) i producirao njezin prvijenac, iznimno poetičan i osoban komad melankolične, pa i elegične drame.

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FILM: Aftersun; drama; Velika Britanija, 2022. REŽIJA: Charlotte Wells ULOGE: Paul Mescal, Frankie Corio OCJENA: *****

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Wells je snimila autobiografski film za nezaborav prema vlastitoj (re)kolekciji sjećanja na tatu. Neka sjećanja su stvarna, ovjekovječena videokamerom, neka imaginarna, ali svejedno djeluju proživljeno, premda su se možda odigrala samo u mislima ili bila idealizirana.

“Poslije sunca” boravi na tankoj granici između činjenice i fikcije, zabilježenog i zapamćenog, onoga što se zapravo i možda dogodilo, s kadrovima koji prenose osjećaj listanja fotografija iz starih obiteljskih albuma kad ste bili djeca.

U centru priče nalaze se 11-godišnjakinja Sophie (odlična debitantica Frankie Corio) i njezin mladi tata Callum (Mescal) koji provode ljeto na odmoru u Turskoj prije početka nove školske godine i njezina povratka mami.

Sophie u uvodnoj sceni snima tatu i pita ga “Kad si imao 11, što si mislio da ćeš raditi danas?” (kasnije će ga pitati i “Što si ti radio za jedanaesti rođendan?”), a Wells umjesto Callumova odgovora bira montažni rez na flešbek i prikazuje ga na techno partyju pod stroboskopskim svjetlima kluba.

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To će postati ponavljajući (i proganjajući) kadar filma na rubu nadrealnog, poput neke slike koja vam se konstantno vrti u glavi i ne možete je izbaciti odatle. Uvod je bitan jer postavlja priču iz perspektive pametne Sophie, ali i sugerira da Callum nije u dobi od 11 mislio da će mu se život razviti ovako kako se razvio.

Mescal je izvrstan u prikrivanju tjeskobe lika: Callum je prerano postao (razvedeni) otac, ali voli svoju kćerku najviše na svijetu i zaštitnički traži od nje obećanje da, kad odraste, neće oklijevati da mu govori o dečkima, partyjima i drogi (“Možeš pričati sa mnom o svemu”).

Otac nastoji da njegova unutarnja trvenja ne pokvare ljetnu zabavu i lijepe momente za neko buduće sjećanje koji su, prema svemu sudeći, bili njihovi posljednji zajednički trenuci. Zahvaljujući glumcima i redateljici likovi odišu bogatim unutarnjim životima.

Odraslu Sophie (pojavljuje se u nekoliko navrata i glumi je Celia Rowlson-Hall) interesira što se tad motalo po glavi tate tijekom njezina formativnog ljeta s prvim poljupcem itd., kad ona neke stvari nije još mogla pojmiti, koliko god sve bolje opažala svijet odraslih u koji pogledava kroz ključanicu, slušajući razgovor starijih djevojaka. Kao da danas želi tatu pitati kako je, doznati je li (bio) dobro, zagrliti ga snažno.

Sjajan kao drama o odrastanju, još bolji kao film o odnosu tate i kćerke, “Aftersun” je prepun nezaboravnih scena, primjerice kad Sophie u prvom planu spava u krevetu, a Callum se na balkonu giba u ritmu kćerkina disanja ili kad vrata na aerodromu vode ravno u klub. Najnezaboravnija scena ozvučena je pjesmom “Under Pressure” i postavljena na plesni podij, gdje će Sophie zaplesati s ocem kroz vrijeme i prostor u zajedničkom trenutku za vječnost.

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Hrvatska premijera na ZFF-u

"Poslije sunca" je hrvatsku premijeru imao na ZFF-u. Bilo bi lijepo i da dobije redovnu kinodistribuciju koja zasad još nije najavljena.

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StoryEditorOCM
Film & TVCINEMARK NA FESTIVALU

‘Poslije sunca‘: Drama za nezaborav

Piše Marko Njegić
19. prosinca 2022. - 22:33
23990805
PREMIUM
Galerija
ZFF

Svega jednu nominaciju za europskog Oscara zabilježio je izuzetni britanski film “Poslije sunca” (“Aftersun”). Bila je to zaslužena nominacija za najboljeg glumca Paula Mescala, poznatog po ulogama u seriji “Normalni ljudi” i filmu “Mračna kći”. No, “Poslije sunca” je zavrijedio i nominaciju još barem za najbolji film i (debitantsku) režiju Charlotte Wells.

“Aftersun” je jedan od najboljih filmova godine, svakako superiorniji nominiranom “Svetom pauku” ili “Korzetu”, a Wells ga je režirala kao da joj ovo nije prvi dugometražni uradak. Talent škotske filmašice prepoznao je oskarovac Barry Jenkins (“Moonlight”, “Ulica Beale”) i producirao njezin prvijenac, iznimno poetičan i osoban komad melankolične, pa i elegične drame.

Wells je snimila...

#CINEMARK#CINEMARK NA FESTIVALU#ZFF#EUOSCAR#PAUL MESCAL#CHARLOTTE WELLS#BARRY JENKINS#FRANKIE CORIO#DRAME#FESTIVALSKI FILMOVI#FILMOVI O ODRASTANJU#FILMOVI O OČEVIMA I KĆERKAMA
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