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Putujući Motovun doputovat će ovog ponedjeljka u Dubrovnik s hrvatskom kinopremijerom američkog nezavisnog filma "Asistentica". To je vjerojatno najzvučniji naslov programa "Motovun putuje", premijerno prikazan na Sundanceu i Berlinaleu, nakon čega je stekao titulu "ultimativnog filma #MeToo pokreta", inspiriran skandalom oko zloglasnog hollywoodskog producenta Harveyja Weinsteina, prvog čovjeka Oscarima naveliko pozlaćene kompanije Miramax.

"The Assistant" to i jest – zasad definitivni "#MeToo movie", barem dok Brian De Palma ne predstavi svoj film o predatorskom filmskom mogulu. Nesumnjivo "definitivniji" od "One su bombe", k tome implicitniji, a i jezovitiji, upravo zbog te "implicitnosti". Inače solidni "Bombshell" bio je sav u dijaloškoj ili monološkoj eksplikaciji nečeg prilično očitog i otvarao je gledatelju zatvorena vrata ureda Fox Newsa pod ravnanjem predatorskog Rogera Ailesa.

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FILM: The Assistant; drama; SAD, 2019. REŽIJA: Kitty Green ULOGE: Julia Garner, Matthew Macfadyen OCJENA: **** ½

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U "Asistentici" vrata bezimena šefa neimenovane filmske kompanije ostaju većinski zatvorena i redateljica Kitty Green eventualno ih tek odškrine publici. Čitav film je režiran u povišenom šaptu, šuškanjima po uredu, s odjecima razgovora iza zatvorenih vrata. Gledatelj sam sastavlja "puzzle" od nagovještaja i crta širu sliku u glavi, zajedno s asistenticom Jane (odlična Julia Garner, najpoznatija iz serije "Ozark").

Naslućujemo da se "nešto" događa, prije nego "ništa", premda redateljica naizgled ostavlja provokativno otvorenom i krajnju opciju gledanja filma, tj. da je posrijedi ono što Jane "misli" da se zbiva, dakle osjećaj asistentice kojoj se stvari možda pričinjaju koliko je umorna i neispavana radeći i u gluho doba noći, od jutra do sutra, toliko da zaboravlja na očev rođendan.

Jer, Green je zagonetna u pristupu i dosta toga drži izvan kadra da je gledatelju teško uprijeti prstom u nešto ili nekoga i reći "da, to je to". "Relativno nova" asistentica Jane naš je vodič kroz priču i newyorške urede filmske kompanije, sugestivno modelirane prema Weinsteinovu Miramaxu.

Film "The Assistant" preslik je njezina (subjektivnog) iskustva na radnom mjestu i doživljaja istog. Green izvrsno prenosi dnevnu rutinu asistentice (telefoniranje, donošenje ručka, fotokpiranje...) i kakav je osjećaj biti žena u radnom okruženju muškaraca, gdje odiše takozvana "toksična muškost" koju redateljica skraćuje za glavu – mnogi muški likovi prolaze kroz kadar na način da im se ne vidi glava, već su prisutni pred kamerom od torza naniže.

Isprane boje pogoduju psihologiji radne sredine koja je dočarana izvrsno i uredi filmske kompanije mogu biti uredi bilo koje firme na svijetu, uključujući i tvrtku za koju je radila protagonistica izraelske "Zaposlene žene", ali i neku s naše strane ekrana, iz stvarnosti.

Redateljčini dokumentaristički korijeni pomogli su u realističnom (re)kreiranju sitnih, najsitnijih, banalnih detalja prilikom opservacije ljudskog ponašanja u uredima, dizalima i drugdje. Režija je nijansirana, gluma također. Prednjače govori tijela u ljudskim interakcijama i ono što u pojedinim situacijama netko (Jane) pomisli, ali na kraju ipak ne izusti.

Čini se kao da slušamo Janein tok misli dok tiho u sebi zbraja dva i dva kad se u firmi pojavi nova asistentica (Kristine Froseth), još mlađa i zgodnija od nje, kojoj je šef, neovisno o tome što nema iskustva, dao posao radi izgleda i skučio je u "fancy" hotel.

Nakon što Jane prijavi svoja opažanja čovjeku iz Ljudskih resursa Wilcocku (Matthew Macfadyen) i ne dobije priželjkivani "feedback" zbog njegova (za)nijekanja njezine perspektive, ugođajna psihološka drama organski srasta u jednako atmosferični psiho-triler paranoidne i korporativne podvrste koji Green režira približno hororski, gotovo kao nekakvog "Predatora" u uredu.

Naime, predatorski šef nema ime, on je "On". U pravilu ga ne vidimo ili ga kamera uhvati zamućena u prolazu. Svakako, ne vidimo mu lice, samo čujemo njegov glas i to mahom nerazgovjetno. Nepisano filmsko pravilo jest da je najbolje ono čudovište koje se ne vidi do polovice filma ("Ralje", "Alien", "Predator"). "Asistentica" krši to pravilo i ispisuje novo. Čudovište se ne vidi cijeli film.

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Redateljica koju valja držati na oku

Kitty Green je pozornost filmskog svijeta privukla režijom dvaju hvaljenih dokumentaraca - "Ukraine Is Not a Brothel" i "Casting JonBenet". Nakon "Asistentice" nestrpljivo očekujemo njezi novi film.

 

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Putujući Motovun doputovat će ovog ponedjeljka u Dubrovnik s hrvatskom kinopremijerom američkog nezavisnog filma "Asistentica". To je vjerojatno najzvučniji naslov programa "Motovun putuje", premijerno prikazan na Sundanceu i Berlinaleu, nakon čega je stekao titulu "ultimativnog filma #MeToo pokreta", inspiriran skandalom oko zloglasnog hollywoodskog producenta Harveyja Weinsteina, prvog čovjeka Oscarima naveliko pozlaćene kompanije Miramax.

"The Assistant" to i jest – zasad definitivni "#MeToo movie", barem dok Brian De Palma ne predstavi svoj film o predatorskom filmskom mogulu. Nesumnjivo "definitivniji" od "One su bombe", k tome implicitniji, a i jezovitiji, upravo zbog te "implicitnosti". Inače solidni "Bombshell" bio je sav u dijaloškoj ili monološkoj eksplikaciji nečeg prilično očitog i otvarao je gledatelju zatvorena vrata ureda Fox Newsa pod ravnanjem predatorskog Rogera Ailesa.

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FILM: The Assistant; drama; SAD, 2019. REŽIJA: Kitty Green ULOGE: Julia Garner, Matthew Macfadyen OCJENA: **** ½

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U "Asistentici" vrata bezimena šefa neimenovane filmske kompanije ostaju većinski zatvorena i redateljica Kitty Green eventualno ih tek odškrine publici. Čitav film je režiran u povišenom šaptu, šuškanjima po uredu, s odjecima razgovora iza zatvorenih vrata. Gledatelj sam sastavlja "puzzle" od nagovještaja i crta širu sliku u glavi, zajedno s asistenticom Jane (odlična Julia Garner, najpoznatija iz serije "Ozark").

Naslućujemo da se "nešto" događa, prije nego "ništa", premda redateljica naizgled ostavlja provokativno otvorenom i krajnju opciju gledanja filma, tj. da je posrijedi ono što Jane "misli" da se zbiva, dakle osjećaj asistentice kojoj se stvari možda pričinjaju koliko je umorna i neispavana radeći i u gluho doba noći, od jutra do sutra, toliko da zaboravlja na očev rođendan.

Jer, Green je zagonetna u pristupu i dosta toga drži izvan kadra da je gledatelju teško uprijeti prstom u nešto ili nekoga i reći "da, to je to". "Relativno nova" asistentica Jane naš je vodič kroz priču i newyorške urede filmske kompanije, sugestivno modelirane prema Weinsteinovu Miramaxu.

Film "The Assistant" preslik je njezina (subjektivnog) iskustva na radnom mjestu i doživljaja istog. Green izvrsno prenosi dnevnu rutinu asistentice (telefoniranje, donošenje ručka, fotokpiranje...) i kakav je osjećaj biti žena u radnom okruženju muškaraca, gdje odiše takozvana "toksična muškost" koju redateljica skraćuje za glavu – mnogi muški likovi prolaze kroz kadar na način da im se ne vidi glava, već su prisutni pred kamerom od torza naniže.

Isprane boje pogoduju psihologiji radne sredine koja je dočarana izvrsno i uredi filmske kompanije mogu biti uredi bilo koje firme na svijetu, uključujući i tvrtku za koju je radila protagonistica izraelske "Zaposlene žene", ali i neku s naše strane ekrana, iz stvarnosti.

Redateljčini dokumentaristički korijeni pomogli su u realističnom (re)kreiranju sitnih, najsitnijih, banalnih detalja prilikom opservacije ljudskog ponašanja u uredima, dizalima i drugdje. Režija je nijansirana, gluma također. Prednjače govori tijela u ljudskim interakcijama i ono što u pojedinim situacijama netko (Jane) pomisli, ali na kraju ipak ne izusti.

Čini se kao da slušamo Janein tok misli dok tiho u sebi zbraja dva i dva kad se u firmi pojavi nova asistentica (Kristine Froseth), još mlađa i zgodnija od nje, kojoj je šef, neovisno o tome što nema iskustva, dao posao radi izgleda i skučio je u "fancy" hotel.

Nakon što Jane prijavi svoja opažanja čovjeku iz Ljudskih resursa Wilcocku (Matthew Macfadyen) i ne dobije priželjkivani "feedback" zbog njegova (za)nijekanja njezine perspektive, ugođajna psihološka drama organski srasta u jednako atmosferični psiho-triler paranoidne i korporativne podvrste koji Green režira približno hororski, gotovo kao nekakvog "Predatora" u uredu.

Naime, predatorski šef nema ime, on je "On". U pravilu ga ne vidimo ili ga kamera uhvati zamućena u prolazu. Svakako, ne vidimo mu lice, samo čujemo njegov glas i to mahom nerazgovjetno. Nepisano filmsko pravilo jest da je najbolje ono čudovište koje se ne vidi do polovice filma ("Ralje", "Alien", "Predator"). "Asistentica" krši to pravilo i ispisuje novo. Čudovište se ne vidi cijeli film.

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Redateljica koju valja držati na oku

Kitty Green je pozornost filmskog svijeta privukla režijom dvaju hvaljenih dokumentaraca - "Ukraine Is Not a Brothel" i "Casting JonBenet". Nakon "Asistentice" nestrpljivo očekujemo njezi novi film.

 

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StoryEditorOCM
Film & TVCINEMARK NA FESTIVALU

ASISTENTICA Predator iz ureda

Piše Marko Njegić
3. kolovoza 2020. - 19:17
14244634
PREMIUM
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Putujući Motovun doputovat će ovog ponedjeljka u Dubrovnik s hrvatskom kinopremijerom američkog nezavisnog filma "Asistentica". To je vjerojatno najzvučniji naslov programa "Motovun putuje", premijerno prikazan na Sundanceu i Berlinaleu, nakon čega je stekao titulu "ultimativnog filma #MeToo pokreta", inspiriran skandalom oko zloglasnog hollywoodskog producenta Harveyja Weinsteina, prvog čovjeka Oscarima naveliko pozlaćene kompanije Miramax.

"The Assistant" to i jest – zasad definitivni "#MeToo movie", barem dok Brian De Palma ne predstavi svoj film o predatorskom filmskom mogulu. Nesumnjivo "definitivniji" od "One su bombe", k tome implicitniji, a i jezovitiji, upravo zbog te "implicitnosti". Inače solidni "Bombshell" bio je sav u dijaloškoj ili monološkoj eksplikaciji nečeg pr...

#CINEMARK#CINEMARK NA FESTIVALU#CINEMARK U KINU #MOTOVUN FILM FESTIVAL#DRAME#INDIE FILMOVI
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18. svibanj 2024 01:49