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Nemediteranski filmovi sve su brojniji na Festivalu mediteranskog filma Split, ali filmofili se ne bi trebali na to buniti. Uvođenje programa kao što su "Druga strana Mediterana" i ovogodišnji "Parangal" omogućava FMFS-u da upeca filmove izvan mediteranskog bazena, a publici da preko tih filmova posjeti neke egzotičnije zemlje, poput Butana ("Lunana") i Kostarike ("Clara Sola").

Nakon meksičkog "Zalaska sunca", program "Druga strana Mediterana" predstavlja i kostarikanski film "Clara Sola", snimljen u švedskoj koprodukciji i ostavljen za sami kraj FMFS-a s projekcijama u petak i subotu.

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FILM: Clara Sola; drama; Kostarika/Švedska, 2021. REŽIJA: Nathalie Álvarez Mesén ULOGE: Wendy Chinchilla Araya, Ana Julia Porras Espinoza OCJENA: ****

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"Clara Sola", prvi kostarikanski film na FMFS-u, potvrđuje da je festival povukao dobar potez kad je odlučio da mu Mediteran ne bude jedini izvor filmova i da se ne ograničava samo na talijansku, francusku, španjolsku, tursku, palestinsku, marokansku i inu kinematografiju koje znaju biti "populističkije".

Jer dugometražni prvijenac redateljice i koscenaristice Nathalie Álvarez Mesén, kostarikanske filmašice sa švedskom adresom, spada u tzv. tvrđi festivalski art film. Ovakav komad egzotičnog magično-realističnog filma, režiranog asketski i mistično, u dosluhu s (nat)prirodom, dosad je bio forte STFF-a i Motovuna ili Subversivea, a odsad je i forte FMFS-a.

Pristup je od presudnog značenja za film kao i ruralna kostarikanska lokacija pretežno napučena ženama i angažman naturščika, predvođenih plesačicom Wendy Chinchilla Araya u glavnoj ulozi. S obzirom na to da je Clara iz naslova djevica u četrdesetima, ovo je u nekom paralelnom hollywoodskom svemiru mogla biti i komedija, nekakva ženska verzija "Junfera u četrdesetoj", ali redateljici Mesén nije do smijeha.

Nije joj ni do horora da "Clara Sola" bude "Carrie" ili barem gvatemalska "La Llorona" s preklanjskog FMFS-a. Iako, film ima dodirnih točka s "Carrie", kao što ih je imala i "Piggy". Jer, Clara naizgled ima natprirodne (iscjeliteljske) moći nakon što ju je "posjetila Djevica Marija".

Ona živi sa striktnom, religioznom majkom (Flor María Vargas Chaves) koja joj je priječila i još uvijek priječi sve što može, od normalnog seksualnog sazrijevanja do preporučljive operacije kičme zbog problema s leđima uslijed čega nosi specijalni korzet.

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"Bog mi ju je dao ovakvu kakva jest", govori majka i pazi da njezina svetačka kćerka bude čista i netaknuta, odlazeći toliko daleko da joj stavlja čili na prste kako slučajno ne bi masturbirala, a kamoli da je dira neki muškarac. Nije čudno da se Clara u takvom okruženju osjeća ugodnije u prirodi, među biljkama i životinjama, od raznobojnih kukaca i krijesnica do bijele kobile Yuce nalik jednorogu iz "Istrebljivača" i "Legende".

U jednoj sceni Clara leži na travi i doživljava prirodu oko sebe, u drugoj se po vlatima njezine kose šeta neka buba, kakvu će kasnije oživjeti svojim dahom, a u trećoj se uvaljala u blato. "Djevica mi je rekla da to napravim", kaže ona kad počne pokazivati znakove čudnog ponašanja.

Što ju je spopalo? Primarni nagoni, odnosno potisnuta seksualnost koja počinje izlaziti na površinu. Zakašnjelo seksualno (i duhovno) buđenje s kamatama inspirirano je sličnim buđenjem njezine tinejdžerske nećakinje Marije (Ana Julia Porras Espinoza) u realnom vremenu i pojavom mladića Santiaga (Daniel Castañeda Rincón) koji privlači jednu i drugu, a ta privlačnost formira neobični ljubavni trokut.

Odnos Clare i Santiaga je redateljici zanimljiviji i ona postavlja dvije pamtljive scene. Prva rekreira sličan trenutak iz "Phoenixa" s pokojnim Rayom Liottom i Anjelicom Huston u automobilu (utrka kapi kiše od vrha do dna vjetrobranskog stakla), dok druga pokazuje koliko je Clara nevina, naivna i neiskusna, kad ona pita Santiaga hoće li vježbati poljupce kao na TV-u, a on joj odgovara "to su glumci".

Vrlina "Clare Sole" jest što Araya izgleda kao da ne glumi magleći prostor između filma i dokumentarca na jednak način kako redateljica magli prostor između filmične mistike i realističnog. Mistika prevladava u završnici, nakon što Clara stavi na glavu krunu sa šarenim lampicama kao krijesnicama koje je odvode u nepoznato.

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Svjetska premijera u sklopu Cannesa

Film je imao svjetsku premijeru u sklopu canneskog festivala (Directors' Fortnight).

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Nemediteranski filmovi sve su brojniji na Festivalu mediteranskog filma Split, ali filmofili se ne bi trebali na to buniti. Uvođenje programa kao što su "Druga strana Mediterana" i ovogodišnji "Parangal" omogućava FMFS-u da upeca filmove izvan mediteranskog bazena, a publici da preko tih filmova posjeti neke egzotičnije zemlje, poput Butana ("Lunana") i Kostarike ("Clara Sola").

Nakon meksičkog "Zalaska sunca", program "Druga strana Mediterana" predstavlja i kostarikanski film "Clara Sola", snimljen u švedskoj koprodukciji i ostavljen za sami kraj FMFS-a s projekcijama u petak i subotu.

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FILM: Clara Sola; drama; Kostarika/Švedska, 2021. REŽIJA: Nathalie Álvarez Mesén ULOGE: Wendy Chinchilla Araya, Ana Julia Porras Espinoza OCJENA: ****

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"Clara Sola", prvi kostarikanski film na FMFS-u, potvrđuje da je festival povukao dobar potez kad je odlučio da mu Mediteran ne bude jedini izvor filmova i da se ne ograničava samo na talijansku, francusku, španjolsku, tursku, palestinsku, marokansku i inu kinematografiju koje znaju biti "populističkije".

Jer dugometražni prvijenac redateljice i koscenaristice Nathalie Álvarez Mesén, kostarikanske filmašice sa švedskom adresom, spada u tzv. tvrđi festivalski art film. Ovakav komad egzotičnog magično-realističnog filma, režiranog asketski i mistično, u dosluhu s (nat)prirodom, dosad je bio forte STFF-a i Motovuna ili Subversivea, a odsad je i forte FMFS-a.

Pristup je od presudnog značenja za film kao i ruralna kostarikanska lokacija pretežno napučena ženama i angažman naturščika, predvođenih plesačicom Wendy Chinchilla Araya u glavnoj ulozi. S obzirom na to da je Clara iz naslova djevica u četrdesetima, ovo je u nekom paralelnom hollywoodskom svemiru mogla biti i komedija, nekakva ženska verzija "Junfera u četrdesetoj", ali redateljici Mesén nije do smijeha.

Nije joj ni do horora da "Clara Sola" bude "Carrie" ili barem gvatemalska "La Llorona" s preklanjskog FMFS-a. Iako, film ima dodirnih točka s "Carrie", kao što ih je imala i "Piggy". Jer, Clara naizgled ima natprirodne (iscjeliteljske) moći nakon što ju je "posjetila Djevica Marija".

Ona živi sa striktnom, religioznom majkom (Flor María Vargas Chaves) koja joj je priječila i još uvijek priječi sve što može, od normalnog seksualnog sazrijevanja do preporučljive operacije kičme zbog problema s leđima uslijed čega nosi specijalni korzet.

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"Bog mi ju je dao ovakvu kakva jest", govori majka i pazi da njezina svetačka kćerka bude čista i netaknuta, odlazeći toliko daleko da joj stavlja čili na prste kako slučajno ne bi masturbirala, a kamoli da je dira neki muškarac. Nije čudno da se Clara u takvom okruženju osjeća ugodnije u prirodi, među biljkama i životinjama, od raznobojnih kukaca i krijesnica do bijele kobile Yuce nalik jednorogu iz "Istrebljivača" i "Legende".

U jednoj sceni Clara leži na travi i doživljava prirodu oko sebe, u drugoj se po vlatima njezine kose šeta neka buba, kakvu će kasnije oživjeti svojim dahom, a u trećoj se uvaljala u blato. "Djevica mi je rekla da to napravim", kaže ona kad počne pokazivati znakove čudnog ponašanja.

Što ju je spopalo? Primarni nagoni, odnosno potisnuta seksualnost koja počinje izlaziti na površinu. Zakašnjelo seksualno (i duhovno) buđenje s kamatama inspirirano je sličnim buđenjem njezine tinejdžerske nećakinje Marije (Ana Julia Porras Espinoza) u realnom vremenu i pojavom mladića Santiaga (Daniel Castañeda Rincón) koji privlači jednu i drugu, a ta privlačnost formira neobični ljubavni trokut.

Odnos Clare i Santiaga je redateljici zanimljiviji i ona postavlja dvije pamtljive scene. Prva rekreira sličan trenutak iz "Phoenixa" s pokojnim Rayom Liottom i Anjelicom Huston u automobilu (utrka kapi kiše od vrha do dna vjetrobranskog stakla), dok druga pokazuje koliko je Clara nevina, naivna i neiskusna, kad ona pita Santiaga hoće li vježbati poljupce kao na TV-u, a on joj odgovara "to su glumci".

Vrlina "Clare Sole" jest što Araya izgleda kao da ne glumi magleći prostor između filma i dokumentarca na jednak način kako redateljica magli prostor između filmične mistike i realističnog. Mistika prevladava u završnici, nakon što Clara stavi na glavu krunu sa šarenim lampicama kao krijesnicama koje je odvode u nepoznato.

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Svjetska premijera u sklopu Cannesa

Film je imao svjetsku premijeru u sklopu canneskog festivala (Directors' Fortnight).

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Film & TVCINEMARK NA FESTIVALU

‘Clara Sola‘: Seksualno buđenje s druge strane Mediterana

25. lipnja 2022. - 17:36

Nemediteranski filmovi sve su brojniji na Festivalu mediteranskog filma Split, ali filmofili se ne bi trebali na to buniti. Uvođenje programa kao što su "Druga strana Mediterana" i ovogodišnji "Parangal" omogućava FMFS-u da upeca filmove izvan mediteranskog bazena, a publici da preko tih filmova posjeti neke egzotičnije zemlje, poput Butana ("Lunana") i Kostarike ("Clara Sola").

Nakon meksičkog "Zalaska sunca", program "Druga strana Mediterana" predstavlja i kostarikanski film "Clara Sola", snimljen u švedskoj koprodukciji i ostavljen za sami kraj FMFS-a s projekcijama u petak i subotu.

"Clara Sola", prvi kostarikanski film na FMFS-u, potvrđuje da je festival povukao dobar potez kad je odlučio da mu Mediteran ne bude jedini izvor filmova i da se ne ograničava samo na talijansku, fr...

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