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Provodni motiv niza filmova s jubilarnog 20. ZFF-a bilo je djetinjstvo, kao u “Alcarrasu”, “Najgorima”, “Osam planina”, “Blizu” i “Garburi”. Svaki od ovih filmova je dobar na svoj način, ali titulu najboljeg odnosi irska “Tiha djevojka” (“The Quiet Girl”/”An Cailín Ciúin”), inspirirana novelom “Foster” Claire Keegan.

Dugometražni prvijenac Colma Bairéada je osobni ZFF-ovski favorit autora ovih redaka koji će riskirati i otići toliko daleko da “Tihu djevojku” proglasi jednim od najboljih novijih filmova o djetinjstvu, ako ne i uopće. Irski redatelj sublimirao je krasne dječje filmove osamdesetih i klasičnu literaturu za djecu, od “Ostani uz mene” do “Heidi” (čita se u jednoj sceni), snimivši potencijalni mali klasik za sva vremena, spreman za neka buduća otkrivanja.

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FILM: The Quiet Girl/An Cailín Ciúin; drama; Irska, 2022. REŽIJA: Colm Bairéad ULOGE: Catherine Clinch, Andrew Barrett OCJENA: **** ½

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Na ZFF-u je (p)ostao neotkriveni biser u sjeni zvučnijih ostvarenja poput “Trokuta tuge” i “Korzeta”. Iako, nije trebao: “The Quiet Girl” je dostatno zvučan film. Prvo, imao je premijeru na Berlinaleu, gdje je dobio posebno priznanje u programu “Generation Kplus”. Drugo, pomeo je dodjelu nagrada irske filmske Akademije (Irish Film & Television Academy Awards), pobijedivši pritom “Belfast” Kennetha Branagha. Treće, postao je kandidat matične zemlje za Oscara 2023. godine.

Sve je to zasluženo, a dogodilo se bez neke prevelike buke budući da je “Tiha djevojka” nenametljiv film koji odgovara naslovu i vjerno preslikava titularnu desetogodišnju djevojčicu s puno nijansi u režijskoj i glumačkoj ekspresiji spokojne tišine jednog djetinjstva.

Tišina tako dobro pristaje jednom ovako intimnom filmu utišanih emocija i melankolije, veoma (vizualno) izražajnom pa i elokventnom neovisno o prevladajućoj šutnji, tj. škrtosti likova na riječima. Prebačeni smo u rane osamdesete godine prošlog stoljeća u ruralnoj Irskoj koje mogu proći i kao pedesete, što potencira svevremenost filma.

Cáit (izvanredna Catherine Clinch) preferira biti sama i pronalazi mir lutajući izvan kuće i školske učionice, zbog čega je dobila nadimak “lutalica”. U kući je majka i otac (Kate Nic Chonaonaigh, Michael Patric) ionako posebno ne doživljavaju razapeti između financijskih nedaća, čopora djece i bebe na putu, a u školi je smatraju “čudakinjom”.

U nepunih deset-petnaest minuta redatelj pokazuje osjećaj za likove i ruralni ambijent, puštajući gledatelja u svoj/Cáitin svijet. Dovoljna je jedna vožnja Cáitin na stražnjem sjedištu u automobilu, s kamerom kao očima djeteta koje primjećuju detalje, da doživimo njezin dječji pogled na svijet oko sebe, odrasle ljude (otac i nepoznata žena/ljubavnica) i prirodu (zrake sunca nježno se probijaju kroz drveće).

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Do trenutka kad roditelji pošalju Cáit preko ljeta na farmu kod majčine starije rodice Eibhlín (Carrie Crowley), slično kao što je Heidi poslana djedu, gledatelju je već stalo do nje. Eibhlín smjesta prihvaća Cáit kao vlastito dijete, dok je njezin suprug Seán (Andrew Barrett) rezerviran prema maloj pridošlici.

”Da si moja nikad te ne bih ostavila u kući s neznancima”, razmišlja naglas Eibhlín i pokazuje golemu nježnost prema Cáit na što ona nije navikla, brižno je kupajući i četkajući njezinu kosu. Dan po dan, Cáit više ne izgleda kao zaprljana klinceza iz sirotišta i procvjeta u njegovanu djevojčicu.

”Trebalo je samo malo njege”, govori Eibhlín, (ne)vješto potiskujući bol i skrivajući tugu koja stanuje u domu nesretnog para bez djece. Gledatelju je lakše naslutiti što tišti par kad Cáit dobije dječačku odjeću za prvu ruku i Seán povisi glas na nju kad načas nestane među stajama dok je čuva u strahu da ju je izgubio.

No, kao da sluti to i djevojčica prije nego što dobije potvrdu od radoznale starije žene iz sela Úne (Joan Sheehy), kad tračara, nakon bezazlenog pitanja koristi li Eibhlín maslac ili margarin dok sprema kolače, otkrije obiteljsku tragediju – utapanje sinčića u zdencu.

”The Quiet Girl” kao film o djetinjstvu postaje i film o mentalnom ozdravljenju odraslih, potrebi za davanjem i primanjem nježnosti i dobrote. Nježnost je uzajamna, odnosno koliko Eibhlín i Seán trebaju Cáit, toliko i ona treba njima. Svi će biti promijenjeni ljudi do konca ljeta i Cáitina neminovnog povratka kući, kad se zajednička idila prekida i naizgled beskrajno djetinjstvo se približava kraju.

Možda Cáitin ne bude više tako tiha nakon što je od Seána čula riječi “Mnoge su osobe propustile priliku da ne kažu ništa i izgubile su mnogo zbog toga”, ali kakva bila da bila, ovo iskustvo će ostati sa njom za cijeli život, baš kao što bi i ovaj film mogao ostati s gledateljem. “Tiha djevojka” je došla tiho i ušla u srce.

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Nagrade za film, redatelja i glumice

Na dodjeli nagrada Irske filmske akademije, film je trijumfirao u osam kategorija. Redom, najbolji film, redatelj, glavna i sporedna glumica (Catherine Clinch, Carrie Crowley), montaža, kamera, glazba i scenografija.

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Provodni motiv niza filmova s jubilarnog 20. ZFF-a bilo je djetinjstvo, kao u “Alcarrasu”, “Najgorima”, “Osam planina”, “Blizu” i “Garburi”. Svaki od ovih filmova je dobar na svoj način, ali titulu najboljeg odnosi irska “Tiha djevojka” (“The Quiet Girl”/”An Cailín Ciúin”), inspirirana novelom “Foster” Claire Keegan.

Dugometražni prvijenac Colma Bairéada je osobni ZFF-ovski favorit autora ovih redaka koji će riskirati i otići toliko daleko da “Tihu djevojku” proglasi jednim od najboljih novijih filmova o djetinjstvu, ako ne i uopće. Irski redatelj sublimirao je krasne dječje filmove osamdesetih i klasičnu literaturu za djecu, od “Ostani uz mene” do “Heidi” (čita se u jednoj sceni), snimivši potencijalni mali klasik za sva vremena, spreman za neka buduća otkrivanja.

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FILM: The Quiet Girl/An Cailín Ciúin; drama; Irska, 2022. REŽIJA: Colm Bairéad ULOGE: Catherine Clinch, Andrew Barrett OCJENA: **** ½

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Na ZFF-u je (p)ostao neotkriveni biser u sjeni zvučnijih ostvarenja poput “Trokuta tuge” i “Korzeta”. Iako, nije trebao: “The Quiet Girl” je dostatno zvučan film. Prvo, imao je premijeru na Berlinaleu, gdje je dobio posebno priznanje u programu “Generation Kplus”. Drugo, pomeo je dodjelu nagrada irske filmske Akademije (Irish Film & Television Academy Awards), pobijedivši pritom “Belfast” Kennetha Branagha. Treće, postao je kandidat matične zemlje za Oscara 2023. godine.

Sve je to zasluženo, a dogodilo se bez neke prevelike buke budući da je “Tiha djevojka” nenametljiv film koji odgovara naslovu i vjerno preslikava titularnu desetogodišnju djevojčicu s puno nijansi u režijskoj i glumačkoj ekspresiji spokojne tišine jednog djetinjstva.

Tišina tako dobro pristaje jednom ovako intimnom filmu utišanih emocija i melankolije, veoma (vizualno) izražajnom pa i elokventnom neovisno o prevladajućoj šutnji, tj. škrtosti likova na riječima. Prebačeni smo u rane osamdesete godine prošlog stoljeća u ruralnoj Irskoj koje mogu proći i kao pedesete, što potencira svevremenost filma.

Cáit (izvanredna Catherine Clinch) preferira biti sama i pronalazi mir lutajući izvan kuće i školske učionice, zbog čega je dobila nadimak “lutalica”. U kući je majka i otac (Kate Nic Chonaonaigh, Michael Patric) ionako posebno ne doživljavaju razapeti između financijskih nedaća, čopora djece i bebe na putu, a u školi je smatraju “čudakinjom”.

U nepunih deset-petnaest minuta redatelj pokazuje osjećaj za likove i ruralni ambijent, puštajući gledatelja u svoj/Cáitin svijet. Dovoljna je jedna vožnja Cáitin na stražnjem sjedištu u automobilu, s kamerom kao očima djeteta koje primjećuju detalje, da doživimo njezin dječji pogled na svijet oko sebe, odrasle ljude (otac i nepoznata žena/ljubavnica) i prirodu (zrake sunca nježno se probijaju kroz drveće).

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Do trenutka kad roditelji pošalju Cáit preko ljeta na farmu kod majčine starije rodice Eibhlín (Carrie Crowley), slično kao što je Heidi poslana djedu, gledatelju je već stalo do nje. Eibhlín smjesta prihvaća Cáit kao vlastito dijete, dok je njezin suprug Seán (Andrew Barrett) rezerviran prema maloj pridošlici.

”Da si moja nikad te ne bih ostavila u kući s neznancima”, razmišlja naglas Eibhlín i pokazuje golemu nježnost prema Cáit na što ona nije navikla, brižno je kupajući i četkajući njezinu kosu. Dan po dan, Cáit više ne izgleda kao zaprljana klinceza iz sirotišta i procvjeta u njegovanu djevojčicu.

”Trebalo je samo malo njege”, govori Eibhlín, (ne)vješto potiskujući bol i skrivajući tugu koja stanuje u domu nesretnog para bez djece. Gledatelju je lakše naslutiti što tišti par kad Cáit dobije dječačku odjeću za prvu ruku i Seán povisi glas na nju kad načas nestane među stajama dok je čuva u strahu da ju je izgubio.

No, kao da sluti to i djevojčica prije nego što dobije potvrdu od radoznale starije žene iz sela Úne (Joan Sheehy), kad tračara, nakon bezazlenog pitanja koristi li Eibhlín maslac ili margarin dok sprema kolače, otkrije obiteljsku tragediju – utapanje sinčića u zdencu.

”The Quiet Girl” kao film o djetinjstvu postaje i film o mentalnom ozdravljenju odraslih, potrebi za davanjem i primanjem nježnosti i dobrote. Nježnost je uzajamna, odnosno koliko Eibhlín i Seán trebaju Cáit, toliko i ona treba njima. Svi će biti promijenjeni ljudi do konca ljeta i Cáitina neminovnog povratka kući, kad se zajednička idila prekida i naizgled beskrajno djetinjstvo se približava kraju.

Možda Cáitin ne bude više tako tiha nakon što je od Seána čula riječi “Mnoge su osobe propustile priliku da ne kažu ništa i izgubile su mnogo zbog toga”, ali kakva bila da bila, ovo iskustvo će ostati sa njom za cijeli život, baš kao što bi i ovaj film mogao ostati s gledateljem. “Tiha djevojka” je došla tiho i ušla u srce.

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Nagrade za film, redatelja i glumice

Na dodjeli nagrada Irske filmske akademije, film je trijumfirao u osam kategorija. Redom, najbolji film, redatelj, glavna i sporedna glumica (Catherine Clinch, Carrie Crowley), montaža, kamera, glazba i scenografija.

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StoryEditorOCM
Film & TVCINEMARK NA FESTIVALU

‘Tiha djevojka‘: Došla je tiho i ušla u srce

Piše Marko Njegić
7. studenog 2022. - 17:32
23686639
PREMIUM
Galerija
ZFF

Provodni motiv niza filmova s jubilarnog 20. ZFF-a bilo je djetinjstvo, kao u “Alcarrasu”, “Najgorima”, “Osam planina”, “Blizu” i “Garburi”. Svaki od ovih filmova je dobar na svoj način, ali titulu najboljeg odnosi irska “Tiha djevojka” (“The Quiet Girl”/”An Cailín Ciúin”), inspirirana novelom “Foster” Claire Keegan.

Dugometražni prvijenac Colma Bairéada je osobni ZFF-ovski favorit autora ovih redaka koji će riskirati i otići toliko daleko da “Tihu djevojku” proglasi jednim od najboljih novijih filmova o djetinjstvu, ako ne i uopće. Irski redatelj sublimirao je krasne dječje filmove osamdesetih i klasičnu literaturu za djecu, od “Ostani uz mene” do “Heidi” (čita se u jednoj sceni), snimivši potencijalni mali klasik za sva vremena, sprem...

#CINEMARK#CINEMARK NA FESTIVALU#ZFF#IRSKI FILMOVI#ZAGREB FILM FESTIVAL#FILMOVI O DJETINJSTVU#CATHERINE CLINCH#COLM BAIREAD#CARRIE CROWLEY#ANDREW BARRETT
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