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Ispunjeno kino “Prince Charles Cinema” na ranopopodnevnoj projekciji (u 15.15) američkog nezavisnog filma “Bodies Bodies Bodies” bila je potvrda da se radi o jednom od najiščekivanijih horora iz druge polovine godine. Međutim, svatko tko je došao u dvoranu po dozu standardnog horora, tip “slashera”, zasigurno se nemalo iznenadio, ali iznenađenje je ugodno.

“Bodies Bodies Bodies” izvrće očekivanja i žanr naglavačke, radeći nešto slično što su napravili satirični, crnohumorni, samoironični “Vrisak” i njegovi nastavci, uključujući ovogodišnji “Scream”, pa čak i više od toga. Jer namigujući film redateljice Haline Reijn i scenaristice Sarah DeLappe, nastao u produkciji “indie” kompanije A24, subvertira najmanje dva žanra, “slasher” i “whodunit”/”murder mystery” triler, ako ne i tri (“teen” melodrama). Radi to tako što spaja rijetko spojive žanrove.

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FILM: Bodies Bodies Bodies; crnohumorni horor; SAD, 2022. REŽIJA: Halina Reijn ULOGE: Amandla Stenberg, Maria Bakalova OCJENA: ****

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Ovo je, dakle, nesvakidašnji spoj horora, Agathe Christie (“Mišolovka”, “Deset malih crnaca”) i “Euforije”. Kao da je “Knives Out” (ili friški “See How They Run”) snimljen na “slasherski” način, k tome s mladim ljudima kao protagonistima i potencijalnim antagonistima, pripadnicima tzv. generacije Z.

Hororski “slasher” i trilerski “murder mystery” znali su se križati, recimo u prvom “Petku 13.”, “Vriskovima”, “Znam što si radila prošlog ljeta”, “Još uvijek znam što si radila prošlog ljeta” i “Identitetu”, ali bez (auto)ironijskog interžanrovskog diskursa i tinejdžerske melodramatike kao u “Bodies Bodies Bodies”.

Reijn i DeLappe rabe poznate, već viđene obrasce par žanrova da bi njihovom neobičnom kombinacijom iznjedrile nešto dosad neviđeno ili neviđenije. Da je posrijedi nesvakidašnji film, to ilustrira već uvodni krupni kadar sočnog, senzualnog poljupca dviju mladih žena koje glume Amandla Stenberg (“Sve, baš sve”, “Iskazana mržnja”, “Mračni umovi”, “The Eddy”) i Maria Bakalova (“Borat 2”, “U mjehuru”).

Sophie i njezina djevojka Bea ljube se kao da sutra ne postoji i strast jednostavno pršti s ekrana. Nakon poljupca, cure odlaze na tulum u obiteljsku kuću Sophieina prijatelja Davida (Pete Davidson), jednako bogatog poput nje same. Prije nego što cure iziđu iz automobila, redateljica znakovito kadrira natpis “warning” pokraj unutrašnjeg retrovizora kao prvi znak upozorenja; drugi je otvaranje šampanjca mačetom.

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Upozorenje se ne tiče samo nadolazećeg uragana. Reijn režira jedan sjajan zatišje-pred-buru trenutak, zaranjajući u “slow motionu” ispod mirne površine bazena, gdje zatječe Davida i njegovu djevojku Emmu (Chase Sui Wonders), te Jordan (Myha’la Herrold), Alice (Rachel Sennott) i njezina znatno starijeg dečka Grega (Lee Pace).

Kadrovi su poetičnog audiovizualnog “indie” štiha, kakve smo navikli vidjeti u izvanrednim filmovima s logom A24 kao što su “American Honey”, “Projekt Florida”, “Paklena noć”, “Osmi razred”, “Valovi”, “Crvena raketa”... Kad ekipa ugleda Sophie, nemalo se iznenadi jer nije rekla da dolazi, tj. odgovorila na grupni “chat” i potvrdila dolazak, usto dovela je i njima nepoznatu curu koja se ne uklapa među mlade bogatašice i bogataše i posebno smeta ljubomornoj Jordan.

”Uragan dolazi!” povikne netko. Već je došao i oluja polako bjesni i unutar kuće, ne samo vani. Neke trzavice iz prošlosti izlaze na površinu potaknute prekomjernim uživanjem u alkoholu i drogi, a stvari odlaze kvragu kad netko predloži da zaigraju igru “Bodies, bodies, bodies”, u kojoj ubojica “ubija” žrtve dok mu identitet ne bude otkriven.

”Ako si ubijen, moraš se pretvarati da si mrtav, ako naletiš na nečije tijelo, moraš viknuti ‘Bodies, bodies, bodies’...”, objašnjavaju se pravila. Problem je što neki od njih neće samo glumiti da su mrtvi, nego će zapravo biti mrtvi. Izgleda da je ubojica među njima i naizgled slijedi obrazac iz “bolesne jebene igre”.

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Tko je ubojica? Neki stranac izvana ili netko iznutra? Od društva bi, čini se, svatko mogao biti s obzirom na njihov animozitet, da nisu onakvi kakvima se izdaju i vole jedni drugima zabijati nož u leđa. Uz ovakve prijatelje ne trebaju vam neprijatelji i nitko ne vjeruje nikome, kao u “Stvoru”, s time da ovdje praktički nema protagonista za kakvog se navija poput Kurta Russella.

Likovi nisu dopadljivi kao mladi ljudi ovisni o internetu, društvenim mrežama i pametnim telefonima, time izgubljeni u stvarnom, “offline” svijetu, ali film počiva na njihovoj društvenoj dinamici. Zato je zgodno da zbog oluje u kući nestaje struje i signala za mobitel, odnosno da nema interneta kao glavnog načina komunikacije “generacije Z”.

Mrak je veliki saveznik redateljice i direktora fotografije Jaspera Wolfa (“Monos”) u stvaranju hororskog ugođaja, klaustrofobije, tjeskobe i tenzije koje spretno rastereti neka (crno)humorna scena. Jedino svjetlo u kući nerijetko dopire samo od ekrana pametnih telefona ili fluorescentnih partijanerskih štapića/ogrlica, kao refleksija generacije koja skrola po mobitelu u gluho doba noći i šarenim se neonskim svjetlima brani od mračnog svijeta.

Wolf i Reijn izvrsno koriste labirintne interijere kuće, njezine boje i njihove odsjaje, na mahove tvoreći nadrealnu atmosferu. Kad jedan lik silazi niz stepenice kuće, čini se kao da silazi ravno u pakao. No, ovaj krvavocrveni horor ima smisla za apsurdni crni humor i nerv za šokantni finalni “twist”. Preokret baca novo svjetlo mobitela na sve dotad viđeno i horor kao takav.

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Horor i ‘murder mystery‘

Koncept "murder mystery" krimića Agathe Christie nedavno je zgodno iskoristio i vukodlački horor "Vukodlak među nama".

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Ispunjeno kino “Prince Charles Cinema” na ranopopodnevnoj projekciji (u 15.15) američkog nezavisnog filma “Bodies Bodies Bodies” bila je potvrda da se radi o jednom od najiščekivanijih horora iz druge polovine godine. Međutim, svatko tko je došao u dvoranu po dozu standardnog horora, tip “slashera”, zasigurno se nemalo iznenadio, ali iznenađenje je ugodno.

“Bodies Bodies Bodies” izvrće očekivanja i žanr naglavačke, radeći nešto slično što su napravili satirični, crnohumorni, samoironični “Vrisak” i njegovi nastavci, uključujući ovogodišnji “Scream”, pa čak i više od toga. Jer namigujući film redateljice Haline Reijn i scenaristice Sarah DeLappe, nastao u produkciji “indie” kompanije A24, subvertira najmanje dva žanra, “slasher” i “whodunit”/”murder mystery” triler, ako ne i tri (“teen” melodrama). Radi to tako što spaja rijetko spojive žanrove.

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FILM: Bodies Bodies Bodies; crnohumorni horor; SAD, 2022. REŽIJA: Halina Reijn ULOGE: Amandla Stenberg, Maria Bakalova OCJENA: ****

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Ovo je, dakle, nesvakidašnji spoj horora, Agathe Christie (“Mišolovka”, “Deset malih crnaca”) i “Euforije”. Kao da je “Knives Out” (ili friški “See How They Run”) snimljen na “slasherski” način, k tome s mladim ljudima kao protagonistima i potencijalnim antagonistima, pripadnicima tzv. generacije Z.

Hororski “slasher” i trilerski “murder mystery” znali su se križati, recimo u prvom “Petku 13.”, “Vriskovima”, “Znam što si radila prošlog ljeta”, “Još uvijek znam što si radila prošlog ljeta” i “Identitetu”, ali bez (auto)ironijskog interžanrovskog diskursa i tinejdžerske melodramatike kao u “Bodies Bodies Bodies”.

Reijn i DeLappe rabe poznate, već viđene obrasce par žanrova da bi njihovom neobičnom kombinacijom iznjedrile nešto dosad neviđeno ili neviđenije. Da je posrijedi nesvakidašnji film, to ilustrira već uvodni krupni kadar sočnog, senzualnog poljupca dviju mladih žena koje glume Amandla Stenberg (“Sve, baš sve”, “Iskazana mržnja”, “Mračni umovi”, “The Eddy”) i Maria Bakalova (“Borat 2”, “U mjehuru”).

Sophie i njezina djevojka Bea ljube se kao da sutra ne postoji i strast jednostavno pršti s ekrana. Nakon poljupca, cure odlaze na tulum u obiteljsku kuću Sophieina prijatelja Davida (Pete Davidson), jednako bogatog poput nje same. Prije nego što cure iziđu iz automobila, redateljica znakovito kadrira natpis “warning” pokraj unutrašnjeg retrovizora kao prvi znak upozorenja; drugi je otvaranje šampanjca mačetom.

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Upozorenje se ne tiče samo nadolazećeg uragana. Reijn režira jedan sjajan zatišje-pred-buru trenutak, zaranjajući u “slow motionu” ispod mirne površine bazena, gdje zatječe Davida i njegovu djevojku Emmu (Chase Sui Wonders), te Jordan (Myha’la Herrold), Alice (Rachel Sennott) i njezina znatno starijeg dečka Grega (Lee Pace).

Kadrovi su poetičnog audiovizualnog “indie” štiha, kakve smo navikli vidjeti u izvanrednim filmovima s logom A24 kao što su “American Honey”, “Projekt Florida”, “Paklena noć”, “Osmi razred”, “Valovi”, “Crvena raketa”... Kad ekipa ugleda Sophie, nemalo se iznenadi jer nije rekla da dolazi, tj. odgovorila na grupni “chat” i potvrdila dolazak, usto dovela je i njima nepoznatu curu koja se ne uklapa među mlade bogatašice i bogataše i posebno smeta ljubomornoj Jordan.

”Uragan dolazi!” povikne netko. Već je došao i oluja polako bjesni i unutar kuće, ne samo vani. Neke trzavice iz prošlosti izlaze na površinu potaknute prekomjernim uživanjem u alkoholu i drogi, a stvari odlaze kvragu kad netko predloži da zaigraju igru “Bodies, bodies, bodies”, u kojoj ubojica “ubija” žrtve dok mu identitet ne bude otkriven.

”Ako si ubijen, moraš se pretvarati da si mrtav, ako naletiš na nečije tijelo, moraš viknuti ‘Bodies, bodies, bodies’...”, objašnjavaju se pravila. Problem je što neki od njih neće samo glumiti da su mrtvi, nego će zapravo biti mrtvi. Izgleda da je ubojica među njima i naizgled slijedi obrazac iz “bolesne jebene igre”.

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Tko je ubojica? Neki stranac izvana ili netko iznutra? Od društva bi, čini se, svatko mogao biti s obzirom na njihov animozitet, da nisu onakvi kakvima se izdaju i vole jedni drugima zabijati nož u leđa. Uz ovakve prijatelje ne trebaju vam neprijatelji i nitko ne vjeruje nikome, kao u “Stvoru”, s time da ovdje praktički nema protagonista za kakvog se navija poput Kurta Russella.

Likovi nisu dopadljivi kao mladi ljudi ovisni o internetu, društvenim mrežama i pametnim telefonima, time izgubljeni u stvarnom, “offline” svijetu, ali film počiva na njihovoj društvenoj dinamici. Zato je zgodno da zbog oluje u kući nestaje struje i signala za mobitel, odnosno da nema interneta kao glavnog načina komunikacije “generacije Z”.

Mrak je veliki saveznik redateljice i direktora fotografije Jaspera Wolfa (“Monos”) u stvaranju hororskog ugođaja, klaustrofobije, tjeskobe i tenzije koje spretno rastereti neka (crno)humorna scena. Jedino svjetlo u kući nerijetko dopire samo od ekrana pametnih telefona ili fluorescentnih partijanerskih štapića/ogrlica, kao refleksija generacije koja skrola po mobitelu u gluho doba noći i šarenim se neonskim svjetlima brani od mračnog svijeta.

Wolf i Reijn izvrsno koriste labirintne interijere kuće, njezine boje i njihove odsjaje, na mahove tvoreći nadrealnu atmosferu. Kad jedan lik silazi niz stepenice kuće, čini se kao da silazi ravno u pakao. No, ovaj krvavocrveni horor ima smisla za apsurdni crni humor i nerv za šokantni finalni “twist”. Preokret baca novo svjetlo mobitela na sve dotad viđeno i horor kao takav.

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Horor i ‘murder mystery‘

Koncept "murder mystery" krimića Agathe Christie nedavno je zgodno iskoristio i vukodlački horor "Vukodlak među nama".

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StoryEditorOCM
Film & TVCINEMARK U KINU

‘Bodies Bodies Bodies‘: Horor sa smislom za humor

Piše Marko Njegić
30. rujna 2022. - 09:36
23480895
PREMIUM
Galerija
IMDb/A24

Ispunjeno kino “Prince Charles Cinema” na ranopopodnevnoj projekciji (u 15.15) američkog nezavisnog filma “Bodies Bodies Bodies” bila je potvrda da se radi o jednom od najiščekivanijih horora iz druge polovine godine. Međutim, svatko tko je došao u dvoranu po dozu standardnog horora, tip “slashera”, zasigurno se nemalo iznenadio, ali iznenađenje je ugodno.

“Bodies Bodies Bodies” izvrće očekivanja i žanr naglavačke, radeći nešto slično što su napravili satirični, crnohumorni, samoironični “Vrisak” i njegovi nastavci, uključujući ovogodišnji “Scream”, pa čak i više od toga. Jer namigujući film redateljice Haline Reijn i scenaristice Sarah DeLappe, nastao u produkciji “indie” kompanije A24, subvertira najmanje dva žanra, “slasher” i “whodunit”/”...

#CINEMARK#CINEMARK U KINU #HORORI#CRNOHUMORNI HORORI#BODIES BODIES BODIES #PRINCECHARLESCINEMA#AMANDLA STENBERG#MARIA BAKALOVA#PETE DAVIDSON#LEE PACE#RACHEL SENNOTT#HALINA REIJN#A24
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