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Protok vremena centralna je stavka "Odrastanja" ("Boyhood", 2014.) Richarda Linklatera, jednog od najboljih filmova novog milenija koji u približno realnom vremenu kronicira 12 godina u životu glavnog lika Masona, od rane osnovne škole do odlaska na fakultet.

"Vrijeme prolazi", zaključi Masonova baka nakon što tata dođe po njega i sestru te kaže "Ne mogu vjerovati koliko su narasli". Ponovno gledanje svakog dragog filma s odmakom godina budi osjećaje i potiče razmišljanje, posebice kad su u pitanju filmovi o vremenu poput "Odrastanja".

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FILM: Boyhood; drama; SAD, 2014. REŽIJA: Richard Linklater ULOGE: Ellar Coltrane, Patricia Arquette OCJENA: *****

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Ovom kritičaru čini se da je bilo jučer kad je pogledao "Boyhood" u Rigi i od kina započeo razgledavanje grada, a prošlo je deset godina. Deset. Ilustracije radi, toliko će godina ubrzo napuniti kritičarev mlađi nećak, a stariji 12, znači točno koliko je Linklateru trebalo da kamerom ovjekovječi Masonovo odrastanje. "Ne mogu vjerovati koliko su narasli", doista.

Inspiriran vlastitim filmovima "Prije/poslije sumraka", kao i onim što su napravili Michael Apted (dokumentirao iste živote svakih sedam godina od 1970. u serijalu "Up") i Francois Truffaut (vraćao se glumcu iz prvijenca "400 udaraca" Antoineu Doinelu četiri puta unutar dva desetljeća), Linklater je započeo rad na "Odrastanju" 2002. i nastavio periodički snimati do 2013.

Radio je s istim glumcima: Ellar Coltrane je Mason, Patricia Aquette i Ethan Hawke su njegovi razvedeni roditelji, Olivia i Mason Sr., a Lorelei Linklater sestra Samantha zvana Sam. Takoreći je izveo još impresivniji podvig od onoga što je postigao u ljubavnim "Before" filmovima koji su postali trilogija godinu dana prije premijere "Boyhooda".

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Svakih devet godina Linklater se vraćao ljubavnicima, prateći sazrijevanje likova Jesseja i Celine od mladenačke ljubavi u prvom filmu do braka u trećem, identično starenju njihovih tumača (Hawke, Julie Delpy). Snimajući "Odrastanje" Linklater je skratio interval i jednom godišnje palio kameru, sjedinivši još više realno vrijeme s filmskim, neovisno o tome što je 12 godina sažeo na dva sata i 45 minuta.

U tome i leži genijalnost filma s obzirom da vrijeme leti sve brže i može se učiniti kao da je (Masonovih i naših) 12 godina proletjelo za nepuna tri sata. Linklater je stvorio filmsku verziju "time-lapse" fotografije (nije čudno da je Mason zainteresiran za fotografiranje) i obuhvatio cijelo odrastanje, tj. djetinjstvo-dječaštvo-mladost u životu jednog dječaka, prelamajući vlastita iskustva u liku Masona.

Sve to "Boyhood" čini vrlo osobnim (fotoaparat kao kamera, fotografiranje-snimanje-režiranje), ali i ultimativnim "coming of age" filmom, ekvivalentom "bildungsromanu", poput "Adelina života". Redatelj poseže za (ne)vidljivim montažnim rezovima vremena tijekom epizodične naracije i umjesto natpisa u kojoj smo godini otkriva to promjenom frizura, spomenom američkih izbora ili "najboljih filmova ovoga ljeta" ("Tropska grmljavina", "Vitez tame", "Pineapple Express"; dakle 2008.).

Kroz 12 godina Linklater je ispratio ključne, formativne momente u životu Masona, djeteta u vremenu, ali i one male životne trenutke koji prolete za čas, ali ostaju u sjećanju, hvatajući širu sliku njegove obitelji/američkog društva i gradeći s "Odrastanjem" svojevrsni audiovizualni vremeplov.

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Masonov život je obojan i ozvučen u svim bojama, od Coldplay i "Yellow" s početka filma kad leži na travi kao klinac i gleda oblake na nebu, do Arcade Fire i "Deep Blue" u završnici, a veliko je postignuće da "Boyhood" odlično oslikava i odrasle likove i prati njihov životni vijek, s naglaskom na njegove roditelje, posebice mamu koja slama srce kontemplacijom o prolasku vremena prije sinova odlaska na faks.

"Shvaćam da će moj život samo tako proći. Ovaj niz prekretnica, vjenčanje, imati djecu, razvesti se. Kad smo mislili da si disleksičan, kad sam te učila voziti bicikl. Ponovno se razvesti, dobiti posao koji sam željela, poslati Sam na koledž, tebe... Što je slijedeće, moj jebeni sprovod? Samo sam mislila da će toga biti više", govori Olivia u sceni za koju je Arquette zasluženo osvojila Oscara, a film i Linklater ostali nepravedno zakinuti nauštrb "Birdmana".

Slomljeno srce gledatelja Linklater uspijeva zaliječiti optimističnom završnicom "Odrastanja", pronalazeći pozitivne nabore u vremenu i svijetlu stranu (mladog) života. Stigavši u studentski dom, Mason ubrzo potom s cimerom, cimerovom djevojkom i njenom frendicom Nicole (Jessi Mechler), potencijalnom Celine njegova života, odlazi u posjet teksaškom nacionalnom parku.

Tamo, s pogledom na Rio Grande, rijeku koja simbolički dijeli prijašnji Masonov život od budućeg, Nicole parafrazira "carpe diem" uzrečicu i kaže: "Znaš kako svi uvijek govore ‘uhvati trenutak‘? Ja mislim da je zapravo obrnuto, da trenutak uhvati nas". "To je konstantno, trenutak. Kao da je uvijek upravo sada", nadoveže se Mason. "Boyhood" je uhvatio savršen trenutak i savršen trenutak je uhvatio "Boyhood".

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Lansirna rampa na Sundanceu

"Odrastanje" je imalo premijeru 19. siječnja 2014. na Sundance festivalu.

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Protok vremena centralna je stavka "Odrastanja" ("Boyhood", 2014.) Richarda Linklatera, jednog od najboljih filmova novog milenija koji u približno realnom vremenu kronicira 12 godina u životu glavnog lika Masona, od rane osnovne škole do odlaska na fakultet.

"Vrijeme prolazi", zaključi Masonova baka nakon što tata dođe po njega i sestru te kaže "Ne mogu vjerovati koliko su narasli". Ponovno gledanje svakog dragog filma s odmakom godina budi osjećaje i potiče razmišljanje, posebice kad su u pitanju filmovi o vremenu poput "Odrastanja".

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FILM: Boyhood; drama; SAD, 2014. REŽIJA: Richard Linklater ULOGE: Ellar Coltrane, Patricia Arquette OCJENA: *****

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Ovom kritičaru čini se da je bilo jučer kad je pogledao "Boyhood" u Rigi i od kina započeo razgledavanje grada, a prošlo je deset godina. Deset. Ilustracije radi, toliko će godina ubrzo napuniti kritičarev mlađi nećak, a stariji 12, znači točno koliko je Linklateru trebalo da kamerom ovjekovječi Masonovo odrastanje. "Ne mogu vjerovati koliko su narasli", doista.

Inspiriran vlastitim filmovima "Prije/poslije sumraka", kao i onim što su napravili Michael Apted (dokumentirao iste živote svakih sedam godina od 1970. u serijalu "Up") i Francois Truffaut (vraćao se glumcu iz prvijenca "400 udaraca" Antoineu Doinelu četiri puta unutar dva desetljeća), Linklater je započeo rad na "Odrastanju" 2002. i nastavio periodički snimati do 2013.

Radio je s istim glumcima: Ellar Coltrane je Mason, Patricia Aquette i Ethan Hawke su njegovi razvedeni roditelji, Olivia i Mason Sr., a Lorelei Linklater sestra Samantha zvana Sam. Takoreći je izveo još impresivniji podvig od onoga što je postigao u ljubavnim "Before" filmovima koji su postali trilogija godinu dana prije premijere "Boyhooda".

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Svakih devet godina Linklater se vraćao ljubavnicima, prateći sazrijevanje likova Jesseja i Celine od mladenačke ljubavi u prvom filmu do braka u trećem, identično starenju njihovih tumača (Hawke, Julie Delpy). Snimajući "Odrastanje" Linklater je skratio interval i jednom godišnje palio kameru, sjedinivši još više realno vrijeme s filmskim, neovisno o tome što je 12 godina sažeo na dva sata i 45 minuta.

U tome i leži genijalnost filma s obzirom da vrijeme leti sve brže i može se učiniti kao da je (Masonovih i naših) 12 godina proletjelo za nepuna tri sata. Linklater je stvorio filmsku verziju "time-lapse" fotografije (nije čudno da je Mason zainteresiran za fotografiranje) i obuhvatio cijelo odrastanje, tj. djetinjstvo-dječaštvo-mladost u životu jednog dječaka, prelamajući vlastita iskustva u liku Masona.

Sve to "Boyhood" čini vrlo osobnim (fotoaparat kao kamera, fotografiranje-snimanje-režiranje), ali i ultimativnim "coming of age" filmom, ekvivalentom "bildungsromanu", poput "Adelina života". Redatelj poseže za (ne)vidljivim montažnim rezovima vremena tijekom epizodične naracije i umjesto natpisa u kojoj smo godini otkriva to promjenom frizura, spomenom američkih izbora ili "najboljih filmova ovoga ljeta" ("Tropska grmljavina", "Vitez tame", "Pineapple Express"; dakle 2008.).

Kroz 12 godina Linklater je ispratio ključne, formativne momente u životu Masona, djeteta u vremenu, ali i one male životne trenutke koji prolete za čas, ali ostaju u sjećanju, hvatajući širu sliku njegove obitelji/američkog društva i gradeći s "Odrastanjem" svojevrsni audiovizualni vremeplov.

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Masonov život je obojan i ozvučen u svim bojama, od Coldplay i "Yellow" s početka filma kad leži na travi kao klinac i gleda oblake na nebu, do Arcade Fire i "Deep Blue" u završnici, a veliko je postignuće da "Boyhood" odlično oslikava i odrasle likove i prati njihov životni vijek, s naglaskom na njegove roditelje, posebice mamu koja slama srce kontemplacijom o prolasku vremena prije sinova odlaska na faks.

"Shvaćam da će moj život samo tako proći. Ovaj niz prekretnica, vjenčanje, imati djecu, razvesti se. Kad smo mislili da si disleksičan, kad sam te učila voziti bicikl. Ponovno se razvesti, dobiti posao koji sam željela, poslati Sam na koledž, tebe... Što je slijedeće, moj jebeni sprovod? Samo sam mislila da će toga biti više", govori Olivia u sceni za koju je Arquette zasluženo osvojila Oscara, a film i Linklater ostali nepravedno zakinuti nauštrb "Birdmana".

Slomljeno srce gledatelja Linklater uspijeva zaliječiti optimističnom završnicom "Odrastanja", pronalazeći pozitivne nabore u vremenu i svijetlu stranu (mladog) života. Stigavši u studentski dom, Mason ubrzo potom s cimerom, cimerovom djevojkom i njenom frendicom Nicole (Jessi Mechler), potencijalnom Celine njegova života, odlazi u posjet teksaškom nacionalnom parku.

Tamo, s pogledom na Rio Grande, rijeku koja simbolički dijeli prijašnji Masonov život od budućeg, Nicole parafrazira "carpe diem" uzrečicu i kaže: "Znaš kako svi uvijek govore ‘uhvati trenutak‘? Ja mislim da je zapravo obrnuto, da trenutak uhvati nas". "To je konstantno, trenutak. Kao da je uvijek upravo sada", nadoveže se Mason. "Boyhood" je uhvatio savršen trenutak i savršen trenutak je uhvatio "Boyhood".

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Lansirna rampa na Sundanceu

"Odrastanje" je imalo premijeru 19. siječnja 2014. na Sundance festivalu.

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Film & TVCINEMARK OBLJETNICA

‘Odrastanje‘: Dijete u vremenu

Piše Marko Njegić
19. siječnja 2024. - 15:12
26410906
Galerija
Ifc Productions/detour Filmprodu/

Protok vremena centralna je stavka "Odrastanja" ("Boyhood", 2014.) Richarda Linklatera, jednog od najboljih filmova novog milenija koji u približno realnom vremenu kronicira 12 godina u životu glavnog lika Masona, od rane osnovne škole do odlaska na fakultet.

"Vrijeme prolazi", zaključi Masonova baka nakon što tata dođe po njega i sestru te kaže "Ne mogu vjerovati koliko su narasli". Ponovno gledanje svakog dragog filma s odmakom godina budi osjećaje i potiče razmišljanje, posebice kad su u pitanju filmovi o vremenu poput "Odrastanja".

FILM: Boyhood; drama; SAD, 2014. REŽIJA: Richard Linklater ULOGE: Ellar Coltrane, Patricia Arquette OCJENA: *****

Ovom kritičaru čini se da je bilo jučer kad je pogledao "Boyhood" u Rigi i od kina započeo razgledavanje grada, a prošlo je deset godina. Deset. Ilustracije radi, toliko će godina ubrzo napuniti kritičarev mlađi nećak, a stariji 12, znači točno koliko je Linklateru trebalo da kamerom ovjekovječi Masonovo odrastanje. "Ne mogu vjerovati koliko su narasli", doista.

Inspiriran vlastitim filmovima "Prije/poslije sumraka", kao i onim što su napravili Michael Apted (dokumentirao iste živote svakih sedam godina od 1970. u serijalu "Up") i Francois Truffaut (vraćao se glumcu iz prvijenca "400 udaraca" Antoineu Doinelu četiri puta unutar dva desetljeća), Linklater je započeo rad na "Odrastanju" 2002. i nastavio periodički snimati do 2013.

Radio je s istim glumcima: Ellar Coltrane je Mason, Patricia Aquette i Ethan Hawke su njegovi razvedeni roditelji, Olivia i Mason Sr., a Lorelei Linklater sestra Samantha zvana Sam. Takoreći je izveo još impresivniji podvig od onoga što je postigao u ljubavnim "Before" filmovima koji su postali trilogija godinu dana prije premijere "Boyhooda".

Svakih devet godina Linklater se vraćao ljubavnicima, prateći sazrijevanje likova Jesseja i Celine od mladenačke ljubavi u prvom filmu do braka u trećem, identično starenju njihovih tumača (Hawke, Julie Delpy). Snimajući "Odrastanje" Linklater je skratio interval i jednom godišnje palio kameru, sjedinivši još više realno vrijeme s filmskim, neovisno o tome što je 12 godina sažeo na dva sata i 45 minuta.

U tome i leži genijalnost filma s obzirom da vrijeme leti sve brže i može se učiniti kao da je (Masonovih i naših) 12 godina proletjelo za nepuna tri sata. Linklater je stvorio filmsku verziju "time-lapse" fotografije (nije čudno da je Mason zainteresiran za fotografiranje) i obuhvatio cijelo odrastanje, tj. djetinjstvo-dječaštvo-mladost u životu jednog dječaka, prelamajući vlastita iskustva u liku Masona.

Sve to "Boyhood" čini vrlo osobnim (fotoaparat kao kamera, fotografiranje-snimanje-režiranje), ali i ultimativnim "coming of age" filmom, ekvivalentom "bildungsromanu", poput "Adelina života". Redatelj poseže za (ne)vidljivim montažnim rezovima vremena tijekom epizodične naracije i umjesto natpisa u kojoj smo godini otkriva to promjenom frizura, spomenom američkih izbora ili "najboljih filmova ovoga ljeta" ("Tropska grmljavina", "Vitez tame", "Pineapple Express"; dakle 2008.).

Kroz 12 godina Linklater je ispratio ključne, formativne momente u životu Masona, djeteta u vremenu, ali i one male životne trenutke koji prolete za čas, ali ostaju u sjećanju, hvatajući širu sliku njegove obitelji/američkog društva i gradeći s "Odrastanjem" svojevrsni audiovizualni vremeplov.

Masonov život je obojan i ozvučen u svim bojama, od Coldplay i "Yellow" s početka filma kad leži na travi kao klinac i gleda oblake na nebu, do Arcade Fire i "Deep Blue" u završnici, a veliko je postignuće da "Boyhood" odlično oslikava i odrasle likove i prati njihov životni vijek, s naglaskom na njegove roditelje, posebice mamu koja slama srce kontemplacijom o prolasku vremena prije sinova odlaska na faks.

"Shvaćam da će moj život samo tako proći. Ovaj niz prekretnica, vjenčanje, imati djecu, razvesti se. Kad smo mislili da si disleksičan, kad sam te učila voziti bicikl. Ponovno se razvesti, dobiti posao koji sam željela, poslati Sam na koledž, tebe... Što je slijedeće, moj jebeni sprovod? Samo sam mislila da će toga biti više", govori Olivia u sceni za koju je Arquette zasluženo osvojila Oscara, a film i Linklater ostali nepravedno zakinuti nauštrb "Birdmana".

Slomljeno srce gledatelja Linklater uspijeva zaliječiti optimističnom završnicom "Odrastanja", pronalazeći pozitivne nabore u vremenu i svijetlu stranu (mladog) života. Stigavši u studentski dom, Mason ubrzo potom s cimerom, cimerovom djevojkom i njenom frendicom Nicole (Jessi Mechler), potencijalnom Celine njegova života, odlazi u posjet teksaškom nacionalnom parku.

Tamo, s pogledom na Rio Grande, rijeku koja simbolički dijeli prijašnji Masonov život od budućeg, Nicole parafrazira "carpe diem" uzrečicu i kaže: "Znaš kako svi uvijek govore ‘uhvati trenutak‘? Ja mislim da je zapravo obrnuto, da trenutak uhvati nas". "To je konstantno, trenutak. Kao da je uvijek upravo sada", nadoveže se Mason. "Boyhood" je uhvatio savršen trenutak i savršen trenutak je uhvatio "Boyhood".

Lansirna rampa na Sundanceu

"Odrastanje" je imalo premijeru 19. siječnja 2014. na Sundance festivalu.

#CINEMARK#CINEMARK OBLJETNICA#RICHARD LINKLATER#BOYHOOD#PATRICIA ARQUETTE#OSKAROVSKI FILMOVI#ETHAN HAWKE#DRAME#ELLAR COLTRANE#ODRASTANJE FILM#LORELEI LINKLATER
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