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Istospolne romanse gotovo da postaju zaseban podžanr prestižnih filmova, mahom drama, o ljubavi dviju žena, lansiranih u filmski svemir na festivalima "A" kategorije. Led je 2013., kao nijedan film prije, probio "Adelin život" s Adele Exarchopoulos i Leom Seydoux, nakon što su teren pripremali "Moje ljeto ljubavi" s Emily Blunt i Natalie Press, "Soba u Rimu" s Elenom Anayom i Natashom Yarowenko..., pa i Matanićeve "Fine mrtve djevojke" s Ninom Violić i Olgom Pakalović.

Malo po malo, uslijedio je "boom" takvih filmova: "Carol" s Cate Blanchett i Rooney Marom, "Ljeto za Sangaile" s Julijom Steponaityte i Aiste Dirziute, "Slobodna ljubav" s Julianne Moore i Ellen/Elliotom Page(om), "Neposlušnost" s Rachel Weisz i Rachel McAdams, erotski triler "Sluškinja" s Tae-ri Kim i Min-he Kim...

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FILM: The World To Come; romantična drama; SAD, 2020. REŽIJA: Mona Fastvold ULOGE: Katherine Waterston, Vanessa Kirby OCJENA: ****

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Neke od ovih filmova potpisali su, uzgred, cijenjeni filmaši poput Pawela Pawlikowskog ("My Summer Of Love"), Abdellatifa Kechichea ("La vie d'Adele"), Todda Haynesa ("Carol), Chan-wook Parka ("The Handmaiden") i Sebastiana Lelioa ("Disobedience").

"Svijet koji dolazi" redateljice Mone Fastvold s Katherine Waterston i Vanessom Kirby treći je uzastopni film unatrag nepune dvije godine o zabranjenoj ženskoj ljubavi nakon "Portreta djevojke koja izgara" Celine Sciamme s Adele Haenel i Noemie Merlant te "Amonita" Francisa Leeja s Kate Winslet i Saoirse Ronan.

Sva tri su kostimirano-povijesna, s time da se "The World To Come" i "Ammonite" odvijaju sredinom 19. stoljeća u Americi, odnosno Velikoj Britaniji. Usto, "Svijet koji dolazi" i "Amonit" pratili su se po festivalima u zadnjem kvartalu 2020. godine. Prvi film, novitet na hrvatskom "online" videotržištu, imao je premijeru na Veneciji, netom prije nego što je drugi premijerno prikazan na Torontu.

Tamo je "The World To Come" osvojio nagradu Queer Lion, a šuškalo se da bi nikad bolja Waterston ("Skrivena mana", "Čudesne zvijeri", "Alien: Savez") i Kirby ("Kruna", "Nemoguća misija 6", "Hobbs i Shaw") mogle podijeliti priznanje za najbolju glumicu, kao Exarchopoulos i Seydoux svojedobno u Cannessu za "Adelin život".

Na kraju se to nije dogodilo, tj. Kirby je dobila nagradu, ali ne za "Svijet koji dolazi", već za "Krhotine žene", nakon čega je dogurala i do Oscar nominacije na račun te fenomenalne uloge. Glumice su izvrsne, a i film je dobar i uspio je donijeti nešto svoga u sve napučeniji podžanr i razlikovati se od sličnih ostvarenja poput "Portrait Of a Lady On Fire" ili "Ammonite" s kojima će se neminovno uspoređivati i, često, ne uvijek izvlačiti deblji kraj.

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"The World To Come" možda nije emotivno i erotski nesputan, sirov i strasan kao "La vie d'Adele", ali je prilično promišljen i pametno struktuiran komad melankolične istospolne romantične drame, nadahnute kratkom pričom iz istoimene kolekcije Jima Sheparda koji je koscenarist zajedno s Ronom Hansenom ("The Assassination Of Jesse James By The Coward Robert Ford").

Višestruko je, tako, smislen uvodni kadar smrznutog, opustjelog "American frontier" krajobraza jednog ledenog siječanjskog dana 1856. na sjeveru države New York. Tu, na osami, žive farmeri Abigail (Waterston) i njezin muž Dyer (oskarovac Casey Affleck) u čiji se brak uvukla trajna studen nakon smrti kćerke, od čega se nisu oporavili i jedva da govore jedno s drugim dok monotono vode brigu o usjevima i polju.

"Pretvorila sam se u svoju žalost", pripovijeda povučena Abigail u "voiceoveru" dok stavlja riječi na papir i za supruga kaže da je za njega "zadovoljstvo poput prijatelja kojeg ne vidi". (Njezina) lirska, elokventna, poetska naracija razlikuje "Svijet koji dolazi" od prethodnika.

Ponekad je naracija odveć izdašna i prijeti pojesti sve ostalo izgovoreno u "The World To Come", što bi moglo zasmetati nekim gledateljima i odbiti ih od priče. No, ona funkcionira kao ekspresija jedne introvertirane žene, slikoviti dnevnik intimnih misli gdjekad izrečenih ispred njezina vremena, koji čitamo glasom protagonistice.

To film pretvara u svojevrsni romantično-dramski "found footage movie" s pronađenim dnevnikom umjesto filmske vrpce. Svakako, razumijemo Abigail i shvaćamo zašto ju je privukla crvenokosa Tallie (Kirby) od trenutka kad su im se pogledi sreli. Dogodilo se to jednog dana dok se sa Tallie vozila u kočiji sa suprugom Finneyjem (Christopher Abbott), s kojim je unajmila farmu nedaleko Abigail i Dyera.

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Plamen strasti u Tallieinoj kosi otpio je snijeg oko Abigail, donio svjetlo u njezin život i zapalio iskru među njima. "Crvena kosa na suncu poprimala je ljubičasti sjaj", piše Abigail za Tallie koja treba zasnovati obitelj s Finneyjem, ali odbija je njegovo zlostavljačko ponašanje.

Povezanost je instantna, a veže ih i samotni otpor prema normama patrijarhalnog društva, u smislu da se "žene pokoravaju svojim muževima", moraju ispoštovati svoje bračne/obiteljske dužnosti i obavljati kućanske poslove. Upute za žene ovdje sežu iz "Starog zavjeta".

Sigurno je i to kumovalo da se zbliže u formi ženskog osnaženja kako bi zajedno lakše podnijele teret (muškog) društva, kakav su nosile i protagonistice "Amonita" i "Portreta djevojke koja izgara". Srećom, točno u trenutku kad izgleda kao da je redateljicu Fastvold zaslijepila politička angažiranost priče, film se vraća suptilnoj naklonosti dviju žena.

"Nešto se zbiva među nama što ne mogu odgonetnuti", razmišlja Abigail čije je "srce poput lista nošenog preko stijene snagom brzaca" kad je u blizini Tallie koja plamti iznutra, ne samo izvana (kosa), a bez nje se osjeća kao "knjižnica bez knjiga". Susreti dviju žena neobično su nježni za ovaj tip filma, lišeni voajerskog upliva u njihovu privatnost; poneki dodir, poljubac i zagrljaj daleko od očiju okoline, to je sve.

Intima dvju žena čuva se do samoga kraja, što izaziva snažniji osjećaj u gledatelju kad se svi njihovi bliski susreti u krevetu zavrte pred očima Abigail poput uspomene, možda i fantazije. Montaža ljubavnih scena, moguće, prikazuje i ono što je moglo biti, a nije nužno i bilo.

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Moderne istospolne romanse koje treba pogledati

Ako uvrstimo i ljubavne priče o dvojici muškaraca ("Brokeback Mountain", "Call Me By Your Name"), lista modernih istospolnih romansi koje treba pogledati išla bi ovako nekako, složena po abecedi...
- "Adelin život" (2013.)
- "Amonit" (2020.)
- "Carol" (2015.)
- "Ljeto za Sangaile" (2015.)
- "Moje ljeto ljubavi" (2004.)
- "Planina Brokeback" (2005.)
- "Portret djevojke koja izgara" (2019.)
- "Skrivena ljubav" (2017.)
- "Sluškinja" (2017.)
- "SVIJET KOJI DOLAZI" (2020.)

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Istospolne romanse gotovo da postaju zaseban podžanr prestižnih filmova, mahom drama, o ljubavi dviju žena, lansiranih u filmski svemir na festivalima "A" kategorije. Led je 2013., kao nijedan film prije, probio "Adelin život" s Adele Exarchopoulos i Leom Seydoux, nakon što su teren pripremali "Moje ljeto ljubavi" s Emily Blunt i Natalie Press, "Soba u Rimu" s Elenom Anayom i Natashom Yarowenko..., pa i Matanićeve "Fine mrtve djevojke" s Ninom Violić i Olgom Pakalović.

Malo po malo, uslijedio je "boom" takvih filmova: "Carol" s Cate Blanchett i Rooney Marom, "Ljeto za Sangaile" s Julijom Steponaityte i Aiste Dirziute, "Slobodna ljubav" s Julianne Moore i Ellen/Elliotom Page(om), "Neposlušnost" s Rachel Weisz i Rachel McAdams, erotski triler "Sluškinja" s Tae-ri Kim i Min-he Kim...

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FILM: The World To Come; romantična drama; SAD, 2020. REŽIJA: Mona Fastvold ULOGE: Katherine Waterston, Vanessa Kirby OCJENA: ****

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Neke od ovih filmova potpisali su, uzgred, cijenjeni filmaši poput Pawela Pawlikowskog ("My Summer Of Love"), Abdellatifa Kechichea ("La vie d'Adele"), Todda Haynesa ("Carol), Chan-wook Parka ("The Handmaiden") i Sebastiana Lelioa ("Disobedience").

"Svijet koji dolazi" redateljice Mone Fastvold s Katherine Waterston i Vanessom Kirby treći je uzastopni film unatrag nepune dvije godine o zabranjenoj ženskoj ljubavi nakon "Portreta djevojke koja izgara" Celine Sciamme s Adele Haenel i Noemie Merlant te "Amonita" Francisa Leeja s Kate Winslet i Saoirse Ronan.

Sva tri su kostimirano-povijesna, s time da se "The World To Come" i "Ammonite" odvijaju sredinom 19. stoljeća u Americi, odnosno Velikoj Britaniji. Usto, "Svijet koji dolazi" i "Amonit" pratili su se po festivalima u zadnjem kvartalu 2020. godine. Prvi film, novitet na hrvatskom "online" videotržištu, imao je premijeru na Veneciji, netom prije nego što je drugi premijerno prikazan na Torontu.

Tamo je "The World To Come" osvojio nagradu Queer Lion, a šuškalo se da bi nikad bolja Waterston ("Skrivena mana", "Čudesne zvijeri", "Alien: Savez") i Kirby ("Kruna", "Nemoguća misija 6", "Hobbs i Shaw") mogle podijeliti priznanje za najbolju glumicu, kao Exarchopoulos i Seydoux svojedobno u Cannessu za "Adelin život".

Na kraju se to nije dogodilo, tj. Kirby je dobila nagradu, ali ne za "Svijet koji dolazi", već za "Krhotine žene", nakon čega je dogurala i do Oscar nominacije na račun te fenomenalne uloge. Glumice su izvrsne, a i film je dobar i uspio je donijeti nešto svoga u sve napučeniji podžanr i razlikovati se od sličnih ostvarenja poput "Portrait Of a Lady On Fire" ili "Ammonite" s kojima će se neminovno uspoređivati i, često, ne uvijek izvlačiti deblji kraj.

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"The World To Come" možda nije emotivno i erotski nesputan, sirov i strasan kao "La vie d'Adele", ali je prilično promišljen i pametno struktuiran komad melankolične istospolne romantične drame, nadahnute kratkom pričom iz istoimene kolekcije Jima Sheparda koji je koscenarist zajedno s Ronom Hansenom ("The Assassination Of Jesse James By The Coward Robert Ford").

Višestruko je, tako, smislen uvodni kadar smrznutog, opustjelog "American frontier" krajobraza jednog ledenog siječanjskog dana 1856. na sjeveru države New York. Tu, na osami, žive farmeri Abigail (Waterston) i njezin muž Dyer (oskarovac Casey Affleck) u čiji se brak uvukla trajna studen nakon smrti kćerke, od čega se nisu oporavili i jedva da govore jedno s drugim dok monotono vode brigu o usjevima i polju.

"Pretvorila sam se u svoju žalost", pripovijeda povučena Abigail u "voiceoveru" dok stavlja riječi na papir i za supruga kaže da je za njega "zadovoljstvo poput prijatelja kojeg ne vidi". (Njezina) lirska, elokventna, poetska naracija razlikuje "Svijet koji dolazi" od prethodnika.

Ponekad je naracija odveć izdašna i prijeti pojesti sve ostalo izgovoreno u "The World To Come", što bi moglo zasmetati nekim gledateljima i odbiti ih od priče. No, ona funkcionira kao ekspresija jedne introvertirane žene, slikoviti dnevnik intimnih misli gdjekad izrečenih ispred njezina vremena, koji čitamo glasom protagonistice.

To film pretvara u svojevrsni romantično-dramski "found footage movie" s pronađenim dnevnikom umjesto filmske vrpce. Svakako, razumijemo Abigail i shvaćamo zašto ju je privukla crvenokosa Tallie (Kirby) od trenutka kad su im se pogledi sreli. Dogodilo se to jednog dana dok se sa Tallie vozila u kočiji sa suprugom Finneyjem (Christopher Abbott), s kojim je unajmila farmu nedaleko Abigail i Dyera.

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Plamen strasti u Tallieinoj kosi otpio je snijeg oko Abigail, donio svjetlo u njezin život i zapalio iskru među njima. "Crvena kosa na suncu poprimala je ljubičasti sjaj", piše Abigail za Tallie koja treba zasnovati obitelj s Finneyjem, ali odbija je njegovo zlostavljačko ponašanje.

Povezanost je instantna, a veže ih i samotni otpor prema normama patrijarhalnog društva, u smislu da se "žene pokoravaju svojim muževima", moraju ispoštovati svoje bračne/obiteljske dužnosti i obavljati kućanske poslove. Upute za žene ovdje sežu iz "Starog zavjeta".

Sigurno je i to kumovalo da se zbliže u formi ženskog osnaženja kako bi zajedno lakše podnijele teret (muškog) društva, kakav su nosile i protagonistice "Amonita" i "Portreta djevojke koja izgara". Srećom, točno u trenutku kad izgleda kao da je redateljicu Fastvold zaslijepila politička angažiranost priče, film se vraća suptilnoj naklonosti dviju žena.

"Nešto se zbiva među nama što ne mogu odgonetnuti", razmišlja Abigail čije je "srce poput lista nošenog preko stijene snagom brzaca" kad je u blizini Tallie koja plamti iznutra, ne samo izvana (kosa), a bez nje se osjeća kao "knjižnica bez knjiga". Susreti dviju žena neobično su nježni za ovaj tip filma, lišeni voajerskog upliva u njihovu privatnost; poneki dodir, poljubac i zagrljaj daleko od očiju okoline, to je sve.

Intima dvju žena čuva se do samoga kraja, što izaziva snažniji osjećaj u gledatelju kad se svi njihovi bliski susreti u krevetu zavrte pred očima Abigail poput uspomene, možda i fantazije. Montaža ljubavnih scena, moguće, prikazuje i ono što je moglo biti, a nije nužno i bilo.

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Moderne istospolne romanse koje treba pogledati

Ako uvrstimo i ljubavne priče o dvojici muškaraca ("Brokeback Mountain", "Call Me By Your Name"), lista modernih istospolnih romansi koje treba pogledati išla bi ovako nekako, složena po abecedi...
- "Adelin život" (2013.)
- "Amonit" (2020.)
- "Carol" (2015.)
- "Ljeto za Sangaile" (2015.)
- "Moje ljeto ljubavi" (2004.)
- "Planina Brokeback" (2005.)
- "Portret djevojke koja izgara" (2019.)
- "Skrivena ljubav" (2017.)
- "Sluškinja" (2017.)
- "SVIJET KOJI DOLAZI" (2020.)

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StoryEditorOCM
Film & TVCINEMARK U KUĆNOM KINU

‘Svijet koji dolazi‘: Dnevnik jedne istospolne ljubavi

Piše Marko Njegić
22. lipnja 2021. - 23:29
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Istospolne romanse gotovo da postaju zaseban podžanr prestižnih filmova, mahom drama, o ljubavi dviju žena, lansiranih u filmski svemir na festivalima "A" kategorije. Led je 2013., kao nijedan film prije, probio "Adelin život" s Adele Exarchopoulos i Leom Seydoux, nakon što su teren pripremali "Moje ljeto ljubavi" s Emily Blunt i Natalie Press, "Soba u Rimu" s Elenom Anayom i Natashom Yarowenko..., pa i Matanićeve "Fine mrtve djevojke" s Ninom Violić i Olgom Pakalović.

Malo po malo, uslijedio je "boom" takvih filmova: "Carol" s Cate Blanchett i Rooney Marom, "Ljeto za Sangaile" s Julijom Steponaityte i Aiste Dirziute, "Slobodna ljubav" s Julianne Moore i Ellen/Elliotom Page(om), "Neposlušnost" s Rachel Weisz i Rachel McAdams, erotski triler "Sluškinja" s Tae-ri Kim i Min-he Kim...

#CINEMARK#CINEMARK U KUĆNOM KINU#ROMANTIČNI FILMOVI#VANESSA KIRBY#KATHERINE WATERSTON#CASEY AFFLECK#ROMANTIČNE DRAME
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17. svibanj 2024 10:51