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Halloweenovski vikend u hrvatskim kinima bio je obogaćen i prigodnim španjolskim hororom "Stan 32" ("32 Malasana"), inspiriranim navodno istinitim događajima na lokaciji iz naslova filma, koji je stigao u ograničenu kinodistribuciju. Prigode beru hororske jagode.

"Stan 32" je ispunio svoju svrhu i pošteno (is)prepadao publiku dok je trajao nudeći festival "bu" scena, premda baš i ne ulazi u red suvremenih klasika (španjolskog) horora poput "REC-a" s kojim dijeli zlokobno izgledajuću zgradu kao mjesto većinski svedene radnje.

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FILM: 32 Malasana; horor; Španjolska, 2020. REŽIJA: Albert Pinto ULOGE: Begoña Vargas, Iván Marcos DISTRIBUCIJA: Continental OCJENA: ***

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Dugotrajnost ovog filma manja je u odnosu na "Come Play" budući da se njegovo kontinuirano, neprekidno izazivanje zebnje nije nastavilo jednom kad je završio da bi govorili o permanentnom hororu, u smislu da je strah bio ustrajan do gledateljeva odlaska na počinak nakon kina ili tijekom spavanja (noćne more), nekmoli naredne dane ili (besane) noći. Lako moguće da je tome razlog što se priča odvija sedamdesetih, točnije 1976., a ne u moderno doba, te što je ambijentirana u točno određeni ukleti stan na zadnjem katu zlokobne zgrade u centru Madrida koji ubrzo postaje kulisa strave kakvu smo već više puta iskusili na newyorškoj adresi 112 Ocean Avenue kuće iz "Amityville Horrora", ali i drugdje unutar žanra.

Obitelj Olmedo, koju čine roditelji Manolo i Candela (Iván Marco, Bea Segura), 17-godišnja kćerka Amparo (Begoña Vargas), sinovi Pepe i Rafi (Sergio Castellanos, Iván Renedo) i bolesni djed Fermín (José Luis de Madariaga), nije ni prva ni zadnja familija u ukletoj kući ili velikom stanu, naizglednim rezidencijama iz snova što skrivaju snomorice iza zatvorenih vrata svake sobe.

"Što će nam toliki stan? To donosi nesreću", kao da su svjesni žanrovske tipologije i neki članovi obitelji Olmedo prije nego im agent za nekretnine uputu dobrodošlicu u njihov novi dom za koji gledatelj zna da je uklet nakon prologa sa dva klinca i jednom staricom u stolici za ljuljanje ("Hoćete li mi vratiti franju, senora?").

Međutim, redatelj Albert Pinto tipuje na motive univerzalne od 1976. do 2020., kao što je besparica. Olmedovi su, na inzistiranje Manola, prodali kuću na selu i doselili u Madrid, "grad budućnosti", gdje će sklapati kraj s krajem. Neimaština kao pravi, stvarni horor je pokretač priče koja zarobljava Olmedove u titularnom stanu i stvara snomorice iz besparice i obitelji kao kočnice snova (Amparo želi postati stjuardesa, no mora skrbiti o petogodišnjem Rafiju i djedu dok roditelji rade).

Kad se nadnaravna zbivanja počnu otimati kontroli i Amparo, Rafi i Pepe sve češće vide "nekoga" tko "želi nešto od njihove obitelji", komuniciraju putem papirića i štrika za sušenje robe s aveti iz stana preko puta njihova ili se javljaju na telefon koji, zbog siromaštva, nisu još ni aktivirali, Olmedovi bježe iz stana.

To se ne viđa često u sličnim filmovima, ali je kratkoga vijeka – obitelj shvaća da se mora vratiti ustan jer nemaju kamo i pod hipotekom su živjeli tu ili ne. Dublji horor opstoji ispod površine filma koji, pak, većinski boravi na površini i bombardira gledatelja "bu" prizorima.

Tako je i bolje budući da "Stan 32" biva pomalo uvredljiv, osobito nakon osnažujućeg "Mjesta za nas", kad na površinu u hororske svrhe izvuče ljude s invaliditetom i transrodne osobe kao izvor nadnaravnog straha od drugog i drukčijeg, netko nad kome treba izvesti egzorcizam.

Pojedine scene su dovitljive u stvaranju ugroze i "jump scare" egzekuciji, napose kad je u kadru dječak širom otvorenih očiju kojeg "ona" želi odvesti (zvrk na krckavom parketu, lutkarska TV emisija, jeziva "sad-je-vidiš, sad-je-ne-vidiš" prikaza u odrazu ekrana ili s druge strane stakla kuhinjskih vrata), a neke tipizirane ili neiskorištene (djedov stroj za disanje da bi "bolje spavao", fluorescentna krunica kao svjetlo u mraku).

Film pokušava i dijelom uspijeva biti španjolski odgovor na lunaparkovske "bu" festivalije američkog kinohita "Prizivanja 2" kao glavne smjernice redatelja. "32 Malasana" bi mogao Pintu otvoriti vrata seta Jamesa Wana i omogućiti priliku da u njegovoj produkciji režira "The Conjuring 4", "insidious 6" ili nešto treće.

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Španjolski horori rijetko u hrvatskim kinima

Španjolski horori rijetkost su u hrvatskoj kinodistribuciji i teško je sjetiti se kad se posljednji našao na repetoaru. Ustvari, ako se ne varam(o), zadnji je igrao davne 2012. i bio je to "Slatko spavaj" Jaumea Balaguera ("REC").

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Halloweenovski vikend u hrvatskim kinima bio je obogaćen i prigodnim španjolskim hororom "Stan 32" ("32 Malasana"), inspiriranim navodno istinitim događajima na lokaciji iz naslova filma, koji je stigao u ograničenu kinodistribuciju. Prigode beru hororske jagode.

"Stan 32" je ispunio svoju svrhu i pošteno (is)prepadao publiku dok je trajao nudeći festival "bu" scena, premda baš i ne ulazi u red suvremenih klasika (španjolskog) horora poput "REC-a" s kojim dijeli zlokobno izgledajuću zgradu kao mjesto većinski svedene radnje.

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FILM: 32 Malasana; horor; Španjolska, 2020. REŽIJA: Albert Pinto ULOGE: Begoña Vargas, Iván Marcos DISTRIBUCIJA: Continental OCJENA: ***

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Dugotrajnost ovog filma manja je u odnosu na "Come Play" budući da se njegovo kontinuirano, neprekidno izazivanje zebnje nije nastavilo jednom kad je završio da bi govorili o permanentnom hororu, u smislu da je strah bio ustrajan do gledateljeva odlaska na počinak nakon kina ili tijekom spavanja (noćne more), nekmoli naredne dane ili (besane) noći. Lako moguće da je tome razlog što se priča odvija sedamdesetih, točnije 1976., a ne u moderno doba, te što je ambijentirana u točno određeni ukleti stan na zadnjem katu zlokobne zgrade u centru Madrida koji ubrzo postaje kulisa strave kakvu smo već više puta iskusili na newyorškoj adresi 112 Ocean Avenue kuće iz "Amityville Horrora", ali i drugdje unutar žanra.

Obitelj Olmedo, koju čine roditelji Manolo i Candela (Iván Marco, Bea Segura), 17-godišnja kćerka Amparo (Begoña Vargas), sinovi Pepe i Rafi (Sergio Castellanos, Iván Renedo) i bolesni djed Fermín (José Luis de Madariaga), nije ni prva ni zadnja familija u ukletoj kući ili velikom stanu, naizglednim rezidencijama iz snova što skrivaju snomorice iza zatvorenih vrata svake sobe.

"Što će nam toliki stan? To donosi nesreću", kao da su svjesni žanrovske tipologije i neki članovi obitelji Olmedo prije nego im agent za nekretnine uputu dobrodošlicu u njihov novi dom za koji gledatelj zna da je uklet nakon prologa sa dva klinca i jednom staricom u stolici za ljuljanje ("Hoćete li mi vratiti franju, senora?").

Međutim, redatelj Albert Pinto tipuje na motive univerzalne od 1976. do 2020., kao što je besparica. Olmedovi su, na inzistiranje Manola, prodali kuću na selu i doselili u Madrid, "grad budućnosti", gdje će sklapati kraj s krajem. Neimaština kao pravi, stvarni horor je pokretač priče koja zarobljava Olmedove u titularnom stanu i stvara snomorice iz besparice i obitelji kao kočnice snova (Amparo želi postati stjuardesa, no mora skrbiti o petogodišnjem Rafiju i djedu dok roditelji rade).

Kad se nadnaravna zbivanja počnu otimati kontroli i Amparo, Rafi i Pepe sve češće vide "nekoga" tko "želi nešto od njihove obitelji", komuniciraju putem papirića i štrika za sušenje robe s aveti iz stana preko puta njihova ili se javljaju na telefon koji, zbog siromaštva, nisu još ni aktivirali, Olmedovi bježe iz stana.

To se ne viđa često u sličnim filmovima, ali je kratkoga vijeka – obitelj shvaća da se mora vratiti ustan jer nemaju kamo i pod hipotekom su živjeli tu ili ne. Dublji horor opstoji ispod površine filma koji, pak, većinski boravi na površini i bombardira gledatelja "bu" prizorima.

Tako je i bolje budući da "Stan 32" biva pomalo uvredljiv, osobito nakon osnažujućeg "Mjesta za nas", kad na površinu u hororske svrhe izvuče ljude s invaliditetom i transrodne osobe kao izvor nadnaravnog straha od drugog i drukčijeg, netko nad kome treba izvesti egzorcizam.

Pojedine scene su dovitljive u stvaranju ugroze i "jump scare" egzekuciji, napose kad je u kadru dječak širom otvorenih očiju kojeg "ona" želi odvesti (zvrk na krckavom parketu, lutkarska TV emisija, jeziva "sad-je-vidiš, sad-je-ne-vidiš" prikaza u odrazu ekrana ili s druge strane stakla kuhinjskih vrata), a neke tipizirane ili neiskorištene (djedov stroj za disanje da bi "bolje spavao", fluorescentna krunica kao svjetlo u mraku).

Film pokušava i dijelom uspijeva biti španjolski odgovor na lunaparkovske "bu" festivalije američkog kinohita "Prizivanja 2" kao glavne smjernice redatelja. "32 Malasana" bi mogao Pintu otvoriti vrata seta Jamesa Wana i omogućiti priliku da u njegovoj produkciji režira "The Conjuring 4", "insidious 6" ili nešto treće.

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Španjolski horori rijetko u hrvatskim kinima

Španjolski horori rijetkost su u hrvatskoj kinodistribuciji i teško je sjetiti se kad se posljednji našao na repetoaru. Ustvari, ako se ne varam(o), zadnji je igrao davne 2012. i bio je to "Slatko spavaj" Jaumea Balaguera ("REC").

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StoryEditorOCM
Film & TVCINEMARK U KINU

STAN 32 Noć vještica nakon Noći vještica

Piše Marko Njegić
6. studenog 2020. - 22:38
15179810
PREMIUM
Galerija
Enrique Baro Ubach

Halloweenovski vikend u hrvatskim kinima bio je obogaćen i prigodnim španjolskim hororom "Stan 32" ("32 Malasana"), inspiriranim navodno istinitim događajima na lokaciji iz naslova filma, koji je stigao u ograničenu kinodistribuciju. Prigode beru hororske jagode.

"Stan 32" je ispunio svoju svrhu i pošteno (is)prepadao publiku dok je trajao nudeći festival "bu" scena, premda baš i ne ulazi u red suvremenih klasika (španjolskog) horora poput "REC-a" s kojim dijeli zlokobno izgledajuću zgradu kao mjesto većinski svedene radnje.

Dugotrajnost ovog filma manja je u odnosu na "Come Play" budući da se njegovo kontinuirano, neprekidno izazivanje zebnje nije nastavilo jednom kad je završio da bi govorili o permanentnom hororu, u smislu da je strah bio ustrajan do gledateljeva odlaska na p...

#CINEMARK#CINEMARK U KINU #HORORI#HALLOWEEN#NOĆ VJEŠTICA#ŠPANJOLSKI HORORI#ŠPANJOLSKI FILMOVI
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