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Montažeri se s vremenom znaju naći u ulogama režisera. Legendarni David Lean (“Lawrence od Arabije”) isprve se bavio montažom pa onda počeo režirati, kao i npr. Robert Wise koji je montirao “Građanina Kanea” da bi zatim postao redatelj niza poznatih filmova poput “Dan kad se Zemlja zaustavila” i “Priča sa zapadne strane”.

U režiji su se okušali i montažeri Bond-filmova Peter Hunt i John Glen, prošavši put od “Dr. Noa” do “U službi Njezinog veličanstva”, od “Operacije svemir” do “Dozvole za ubojstvo”. Tu je i Stuart Baird, montažer “Supermana”, “Smrtonosnog oružja” i “Umri muški 2” koji je režirao “Konačnu odluku”.

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FILM: Tragovi; drama; Hrvatska/Litva, 2022. REŽIJA: Dubravka Turić ULOGE: Marija Škaričić, Nikša Butijer OCJENA: *** ½

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U hrvatskom filmu takve tranzicije su rijetke, kao što su rijetkost i žene montažeri, a i u svjetskoj kinematografiji nije čest slučaj da montažerke uopće režiraju. Dubravka Turić je započela filmsku karijeru radeći montažu i polako se prebacila na režiju, što nisu napravile njezine znane strane kolegice Thelma Schoonmaker (“Razjareni bik”), Sally Menke (“Kill Bill”), Dede Allen (“Pasje popodne”), Verna Fields (“Ralje”), Carol Littleton (“Tjelesna strast”), Dody Dorn (“Memento”), Margaret Sixel (“Tri tisuće godina čežnje”)...

Nakon montiranja filmova, poput “Kosca”, Turić se okušala kao redateljica, najprije u kratkometražnoj formi. Njezini kratki filmovi dobacili su se do Venecijanskog festivala (“Belladonna”) i Cannesa (“Trešnje”). Dugi metar bio je logičan korak dalje, posebice nakon što su “Trešnje”, jedan od najboljih hrvatskih “kratkiša” posljednjih godina, postale dio dugometražnog omnibusa “Duboki rezovi”.

I Turić je debitirala s filmom “Tragovi”, predstavljenim na ZFF-u samo par dana poslije svjetske premijere na Međunarodnom festivalu u Varšavi. “Tragovi” će možda ostati u sjeni domaćih filmova, poput “Sigurnog mjesta”, “Garbure” i “Strica”, između kojih su na ZFF-u i pozicionirani, ali posrijedi je vrlo solidan prvijenac i vrijedan prilog niski hrvatskih dugometražnih debija, od kojih se razlikuje u karakterizaciji likova, postavci priče i redateljskoj izvedbi.

Ovo je nešto drukčiji hrvatski film kakav se baš i ne snima posljednjih dvadesetak godina, a nekoć ga je, u osamdesetima i devedesetima, znao snimati Ante Babaja (“Izgubljeni zavičaj”, “Kamenita vrata”). Film je prvenstveno fokusiran na glavni ženski lik u posvećenom tumačenju Marije Škaričić, a prelama se kroz njezine unutarnje reminiscencije i sjećanja na prošlost kojoj ne može pobjeći.

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Protagonistica je dosad neviđen lik u novijoj hrvatskoj kinematografiji – antropologinja. Ana se bavi antropologijom i njezino zanimanje, orijentirano na proučavanje evolucijske prošlosti čovjeka, definira je kao nekoga tko je opterećen i vezan vlastitom prošlošću.

Dok Ana vodi antropološko istraživanje slavenskog simbolizma, ureza i simbola prapovijesnih kultura i ikonografije stećaka i mirila (“vječni otisak umrlog”), ona istovremeno proživljava osobnu krizu i sve više je mori traumatična prošlost kad, smrću oca (Mate Gulin), ostane posljednji član nekoć velike obitelji. Prošlost je na Ani ostavila tragove u vidu depigmentacije kože, tj. pojava bjelkastih mrlja koje ona pokušava sakriti kremama, ali vidljive su kad je, primjerice, izložena UV zrakama solarija.

Promjene na koži znak su da će se Ana morati suočiti s vlastitim promjenama u životu, kao i s prošlosti koju treba otpustiti. Misteriozni tragovi na prapovijesnim stećcima poklapaju se s tragovima prošlosti urezanima na njezinoj duši, ali oni bi joj mogli postati i putokaz za izlaz iz začaranog kruga, prema nekom novom početku.

To se naslućuje kad Ana nakon dugo vremena ode do obiteljske kuće na selu, tamo sretne prijatelja iz djetinjstva Jozu (Nikša Butijer, zraka sunca i humora unutar mračne drame), on je odvede na planinu da joj pokaže njezinu zemlju i usput skrene pažnju na kamene oznake, relativno slične stećcima, postavljene za orijentaciju, da se čovjek ne izgubi.

Iako Turić ispočetka navodi gledatelja na trag da bi mogao gledati istraživački triler s daškom misterija, Anino istraživanje je ponajprije dramske prirode, a odigrava se na izvanrednim lokacijama biokovskog zaleđa i južnog Velebita koje redateljici omogućavaju snažne vizualne slike (lokve i bunari, krugovi i tragovi) s kakvima se film simbolički otvara i zatvara. Kapi kiše na početku filma pretvaraju se na kraju u pahulje snijega na kojima Ana može ostaviti tragove stopala prema budućnosti.

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U kinima od 12. siječnja

Malu, ali pamtljivu ulogu u "Tragovima" ima i Lana Barić. Paralelno sa ZFF-om film se prikazuje i na festivalu Mostra de Valencia, nakon čega ga čeka Talinn. U kinima bi, pak, trebao zaigrati od 12. siječnja.

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Montažeri se s vremenom znaju naći u ulogama režisera. Legendarni David Lean (“Lawrence od Arabije”) isprve se bavio montažom pa onda počeo režirati, kao i npr. Robert Wise koji je montirao “Građanina Kanea” da bi zatim postao redatelj niza poznatih filmova poput “Dan kad se Zemlja zaustavila” i “Priča sa zapadne strane”.

U režiji su se okušali i montažeri Bond-filmova Peter Hunt i John Glen, prošavši put od “Dr. Noa” do “U službi Njezinog veličanstva”, od “Operacije svemir” do “Dozvole za ubojstvo”. Tu je i Stuart Baird, montažer “Supermana”, “Smrtonosnog oružja” i “Umri muški 2” koji je režirao “Konačnu odluku”.

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FILM: Tragovi; drama; Hrvatska/Litva, 2022. REŽIJA: Dubravka Turić ULOGE: Marija Škaričić, Nikša Butijer OCJENA: *** ½

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U hrvatskom filmu takve tranzicije su rijetke, kao što su rijetkost i žene montažeri, a i u svjetskoj kinematografiji nije čest slučaj da montažerke uopće režiraju. Dubravka Turić je započela filmsku karijeru radeći montažu i polako se prebacila na režiju, što nisu napravile njezine znane strane kolegice Thelma Schoonmaker (“Razjareni bik”), Sally Menke (“Kill Bill”), Dede Allen (“Pasje popodne”), Verna Fields (“Ralje”), Carol Littleton (“Tjelesna strast”), Dody Dorn (“Memento”), Margaret Sixel (“Tri tisuće godina čežnje”)...

Nakon montiranja filmova, poput “Kosca”, Turić se okušala kao redateljica, najprije u kratkometražnoj formi. Njezini kratki filmovi dobacili su se do Venecijanskog festivala (“Belladonna”) i Cannesa (“Trešnje”). Dugi metar bio je logičan korak dalje, posebice nakon što su “Trešnje”, jedan od najboljih hrvatskih “kratkiša” posljednjih godina, postale dio dugometražnog omnibusa “Duboki rezovi”.

I Turić je debitirala s filmom “Tragovi”, predstavljenim na ZFF-u samo par dana poslije svjetske premijere na Međunarodnom festivalu u Varšavi. “Tragovi” će možda ostati u sjeni domaćih filmova, poput “Sigurnog mjesta”, “Garbure” i “Strica”, između kojih su na ZFF-u i pozicionirani, ali posrijedi je vrlo solidan prvijenac i vrijedan prilog niski hrvatskih dugometražnih debija, od kojih se razlikuje u karakterizaciji likova, postavci priče i redateljskoj izvedbi.

Ovo je nešto drukčiji hrvatski film kakav se baš i ne snima posljednjih dvadesetak godina, a nekoć ga je, u osamdesetima i devedesetima, znao snimati Ante Babaja (“Izgubljeni zavičaj”, “Kamenita vrata”). Film je prvenstveno fokusiran na glavni ženski lik u posvećenom tumačenju Marije Škaričić, a prelama se kroz njezine unutarnje reminiscencije i sjećanja na prošlost kojoj ne može pobjeći.

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Protagonistica je dosad neviđen lik u novijoj hrvatskoj kinematografiji – antropologinja. Ana se bavi antropologijom i njezino zanimanje, orijentirano na proučavanje evolucijske prošlosti čovjeka, definira je kao nekoga tko je opterećen i vezan vlastitom prošlošću.

Dok Ana vodi antropološko istraživanje slavenskog simbolizma, ureza i simbola prapovijesnih kultura i ikonografije stećaka i mirila (“vječni otisak umrlog”), ona istovremeno proživljava osobnu krizu i sve više je mori traumatična prošlost kad, smrću oca (Mate Gulin), ostane posljednji član nekoć velike obitelji. Prošlost je na Ani ostavila tragove u vidu depigmentacije kože, tj. pojava bjelkastih mrlja koje ona pokušava sakriti kremama, ali vidljive su kad je, primjerice, izložena UV zrakama solarija.

Promjene na koži znak su da će se Ana morati suočiti s vlastitim promjenama u životu, kao i s prošlosti koju treba otpustiti. Misteriozni tragovi na prapovijesnim stećcima poklapaju se s tragovima prošlosti urezanima na njezinoj duši, ali oni bi joj mogli postati i putokaz za izlaz iz začaranog kruga, prema nekom novom početku.

To se naslućuje kad Ana nakon dugo vremena ode do obiteljske kuće na selu, tamo sretne prijatelja iz djetinjstva Jozu (Nikša Butijer, zraka sunca i humora unutar mračne drame), on je odvede na planinu da joj pokaže njezinu zemlju i usput skrene pažnju na kamene oznake, relativno slične stećcima, postavljene za orijentaciju, da se čovjek ne izgubi.

Iako Turić ispočetka navodi gledatelja na trag da bi mogao gledati istraživački triler s daškom misterija, Anino istraživanje je ponajprije dramske prirode, a odigrava se na izvanrednim lokacijama biokovskog zaleđa i južnog Velebita koje redateljici omogućavaju snažne vizualne slike (lokve i bunari, krugovi i tragovi) s kakvima se film simbolički otvara i zatvara. Kapi kiše na početku filma pretvaraju se na kraju u pahulje snijega na kojima Ana može ostaviti tragove stopala prema budućnosti.

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U kinima od 12. siječnja

Malu, ali pamtljivu ulogu u "Tragovima" ima i Lana Barić. Paralelno sa ZFF-om film se prikazuje i na festivalu Mostra de Valencia, nakon čega ga čeka Talinn. U kinima bi, pak, trebao zaigrati od 12. siječnja.

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StoryEditorOCM
Film & TVCINEMARK NA FESTIVALU

‘Tragovi‘: Antropologija između drame i misterija

Piše Marko Njegić
28. listopada 2022. - 18:39
23674030
PREMIUM
Galerija
ZFF

Montažeri se s vremenom znaju naći u ulogama režisera. Legendarni David Lean (“Lawrence od Arabije”) isprve se bavio montažom pa onda počeo režirati, kao i npr. Robert Wise koji je montirao “Građanina Kanea” da bi zatim postao redatelj niza poznatih filmova poput “Dan kad se Zemlja zaustavila” i “Priča sa zapadne strane”.

U režiji su se okušali i montažeri Bond-filmova Peter Hunt i John Glen, prošavši put od “Dr. Noa” do “U službi Njezinog veličanstva”, od “Operacije svemir” do “Dozvole za ubojstvo”. Tu je i Stuart Baird, montažer “Supermana”, “Smrtonosnog oružja” i “Umri muški 2” koji je režirao “Konačnu odluku”.

U hrvatskom filmu takve tranzicije su rijetke, kao što su rijetkost i žene montažeri, a i u svjetskoj kinemat...

#CINEMARK#CINEMARK NA FESTIVALU#ZFF#ZAGREB FILM FESTIVAL#DUBRAVKA TURIĆ#HRVATSKI FILMOVI#MARIJA ŠKARIČIĆ#NIKŠA BUTIJER#LANA BARIĆ
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