novi kadrovi
srpski english
It is currently Thu Jun 29, 2017 3:09 pm

All times are UTC + 1 hour




Post new topic Reply to topic  [ 4 posts ] 
Author Message
 Post subject: Rekvijem za gospođu J. (Vuletić, 2017)
PostPosted: Mon Mar 06, 2017 4:12 pm 
Online

Joined: Wed Jan 23, 2008 10:36 am
Posts: 6372
REKVIJEM ZA GOSPOĐU J. Bojana Vuletića uspeva da unese nešto novo u matricu suvog slow cinema realizma koji su izgradili rumunski festivalski favoriti. Opisati REKVIJEM ZA GOSPOĐU J. kao isključivi eho rumunske poetike je prejednostavno i nije sasvim tačno zato što je u rumunski hardver uneo nešto precizniju vizuelnu koncepciju u kojoj ipak ima kudikamo više estetizacije nego kod njih, a potom je na nivou scenarija sve obogatio humorom. Dok je Radovićev DNEVNIK MAŠINOVOĐE doneo zapravo sličnu poetiku kovačevićevske crne komedije ali je kao njenu vizuelnu okosnicu iskoristio nešto drugo, Vuletić se opredeljuje za kurentnije Rumune i koristi ih kao deblo za probijanje kapija evropskih festivala. Recept je izgleda uspešan pa je ovaj film na tim festivalima maltene percipiran kao art house komedija što tek delimično jeste.

Ja bih ga ipak, na bazi iskustva gledanja regionalnog filma, definisao kao crnohumornu melodramu, ali i kao delo koje iznova potvrđuje validnost Dušana Kovačevića kao pisca i njegove poetike. Iako Kovačević nema direktne veze sa ovim filmom, sasvim sam siguran da je mnogo šta u njemu njegova zaostavština.

Vuletićev vizuelni koncept baziran je na doslednom držanju kadar-sekvence koliko god je to moguće, izboru fotogeničnih lokacija, ali i postavljanjem istih takvih, sugestivnih situacija. Pokreti su rezervisani za ljude i vozila, a tek pomalo za kameru koja se uglavnom kreće na faru. To je specifičan izazov za glumce i svi su na njega odlično odgovorili - od Mirjane karanović koja je naravno već puno puta igrala slične likove, preko Borisa Isakovića koji je duhovtiji nego inače, pa sve do Jovane Gavrilović koja izrasta u veliko pojačanje za naše glumište. Devojčica Danica nedeljković je odlična u dobro realizovanoj ulozi foul mouthed kida koje filmu daje poseban šarm i energiju.

Vuletić je krenuo u svojevrsnoj senci svog writing partnera Stefana Arsenijevića ali je vremenom dokazao da je mnogo konzistentniji reditelj, sa solidnim rezultatima. Ovim filmom uspeva da pokaže znatan napredak u odnosu na debi i da pronađe rukopis koji mu u potpunosti odgovara.

* * * / * * * *


Top
 Profile  
 
 Post subject: Re: Rekvijem za gospođu J. (Vuletić, 2017)
PostPosted: Fri Mar 10, 2017 8:55 am 
Offline
User avatar

Joined: Wed Nov 07, 2007 1:00 pm
Posts: 1464
'Requiem For Mrs J': Berlin Review
14 February, 2017 | By Dan Fainaru
http://www.screendaily.com/reviews/requ ... 00.article

A depressed Balkan widow plans her final days in Bojan Vuletic’s dark comedy

Dir/scr: Bojan Vuletic. Serbia/Bulgaria/Macedonia, 2017. 94 min.

Branded a black comedy by its author, it doesn’t take very long to realise that Bojan Vuletic’s new film is indeed very dark but comedy is in scant evidence. If the original intention was to offer a satirical portrait of a world derailed by political and economic transitions, the pain and sorrow do stand out but much of the irony is lost in this bleak story of a widow who sees no good reason to go on living in a world which has no use for her.

Vulatic’s treatment of life in the Balkans, spiked with a touch of Kafka, doesn’t offer much relief or hope

Eventually, as she prepares to commit suicide, her encounters during the few days she allows herself before pulling the trigger and the deadpan situations they provoke may ring bells and elicit smiles at home, but Vuletic’s (Rendezvous in Belgrade) latest will need careful handling elsewhere.

Ms. J (soulfully played by Mirjana Karanovic) lost her husband one year ago. A former administrative secretary, made redundant with no redundancy pay when her last place of employment went out of business, she shares her flat with her two daughters, Koviljka (Danca Nedelkovic) and Ana (Jovana Gavrilovic) her ancient mother-in-law (Mirjana Mira Banjac). Ana’s boyfriend, Milan (Vucic Perovic) may not live there but is never very far away.

Feeling lost in a world she no longer understands, the once spunky lady who kept everyone’s spirits up with her singing now barely finishes a whole sentence, is unable and even uninterested in communicating with anyone, including her offspring. She feels she has nothing left to look forward to.

A week before the anniversary of her husband’s death, she pulls out the pistol he left behind and in the course of the next six days she will try to find a bullet to fit in it. She approaches a stone mason to add her name to the tombstone, obtains a certificate covering her entire thirty-odd years of employment, fixes her her life insurance, even returns a chair to her downstairs neighbour. She tries, without much success, to placate her embittered older daughter, Ana, whose modest income keeps the whole family going and to warn her boyfriend that he will be soon in charge of the household.

But nothing is as easy as it sounds in a country still very much at grips with the instant shift from one economic system, communism, to another, capitalism, with all the inevitable upheavals whose traces and victims are everywhere.

Vulatic’s treatment of life in the Balkans, spiked with a touch of Kafka, doesn’t offer much relief or hope. More often bitter rather than sarcastic, relentlessly proceeding at the pace of a funeral march (appropriate, given its subject), Mrs J’s message is underlined by Jelena Stankovic’s precise camera work which never attempts to prettify the image but its detailed framing helps to stress the points it makes.

Holding the picture together, Karanovic is a consummate performer who never steps out of her role, her face a mask of bewildered defeat at things she cannot comprehend or care for anymore. Constantly pushed, be it by the dysfunctionality of her family, the vulgarity of peddlers on the street, the greedy salesmanship of the graveyard stonemason, the bureaucratic bluntness and corruption of state organisations, the desolation of abandoned workplaces or the sheer loneliness of her existence, she has given up. The plot’s final twist brings in some sunlight, suggesting that even these clouds have somewhere, a silver lining, just enough to make life worth living.

Production companies: SEE Film Pro, Geopoly Film, Skopje Film Studio

International sales: Soul Food (tijana.visnjic@soulfoodfilms.com)

Producers: Nenad Dukic, Pavlina Jeleva, Tomi Salkovski

Executive Producer: Miroslav Mogorovic

Cinematography: Jelena Stankovic

Editor: Vladimir Pavlovski

Production design: Zorana Petrov

Main cast: Mirjana Karanovic, Jovana Gavrilovic, Danica Nedelkovic, Mirjana Mira Banjac, Vucic Perovic

_________________
Ivan Velisavljević


Top
 Profile  
 
 Post subject: Re: Rekvijem za gospođu J. (Vuletić, 2017)
PostPosted: Fri Mar 10, 2017 9:47 am 
Offline
User avatar

Joined: Wed Nov 07, 2007 1:00 pm
Posts: 1464
'Requiem for Mrs. J' ('Rekvijem za gospodju J'): Film Review | Berlin 2017

8:30 AM PST 2/11/2017 by Stephen Dalton
http://www.hollywoodreporter.com/review ... iew-974736

Suicide isn't painless.

A grieving widow resorts to extreme measures in Serbian director Bojan Vuletic's Kafkaesque comedy, a Panorama premiere at the Berlin Film Festival.

A severely depressed widow lives a life of quiet desperation in Requiem for Mrs. J, one of the more pleasantly surprising oddities to premiere at the Berlinale so far. With its fatalistic mood, lethargic pace and washed-out color palette, Serbian writer-director Bojan Vuletic's somber comedy initially feels like the kind of relentlessly grim Eastern Bloc art house misery porn that was once designed to suck all the joy out of serious-minded film festival programs. But there is something much more playful and affirmative going on below the surface here, a stifled scream of defiant humanity against a mercilessly cruel universe.

Vuletic describes Requiem for Mrs. J as a state-of-the-nation fable about contemporary Serbia, a wounded land still wrestling with social and political transition following the bitter breakup of the former Yugoslavia. But while the story doubtless contains local resonances and references that only Balkan audiences will understand, the keynote themes of depression, grief, family friction and financial struggle will strike a universal chord in any language.

Featuring prize-winning Balkan screen icon Mirjana Karanovic in the lead, Requiem for Mrs. J should find a healthy domestic audience. As a co-production between Serbia, Bulgaria, Russia, Macedonia and France, it is also likely to play further afield. English-speaking markets will be a harder sell, but smart niche distributors could make a virtue of the film's darkly comic absurdity. Further festival bookings are also sure to follow Berlin, starting with Belgrade next month.

Jelena (Karanovic) is stuck in a downward spiral of despair. She spends long hours staring glumly into the middle distance in her drab apartment as her befuddled elderly mother cowers in her bedroom and her fiery, foul-mouthed daughters trade sharp slaps and earthy insults. Whenever she ventures outside, Jelena is ritually cat-called by an ageing roadside fruit-seller, but she pointedly ignores his vulgar attempts at flirtation. For initially murky reasons, she also makes regular checks on her dusty old wreck of a car, which mysteriously appears to be in a slightly better condition each time she passes.

The impetus for Jelena's deep-frozen state soon becomes clear. Widowed a year ago, she has lost the will to live, and secretly plans to kill herself on the anniversary of her husband's death. She has even acquired a gun for the purpose. But before the looming deadline, she needs to tie up some crucial loose ends, including updating her state medical card, collecting her severance pay from her old job, and carving her name opposite her dead ex on their joint gravestone.

Sadly for Jelena, Serbian bureaucracy has not progressed much beyond the sclerotic system of communist Yugoslavia. Her daily meetings with doctors, bank officials, former employers and administrative clerks leads her into a Kafkaesque shadow world of long delays and legal catches. A visit to the crumbling factory where she used to work is an especially striking set-piece, a ghostly vision of a failed system in slow-motion entropy. Then, just as the last obstacles to suicide are finally cleared, Jelena learns that her eldest daughter Ana (Jovana Gavrilovic) is pregnant.

For all its surface misery, Requiem for Mrs. J bubbles along with deliciously deadpan humor and a warm glow of empathy toward its flawed protagonists. The drabness of the setting, a wintry concrete wasteland painted in 50 shades of joyless brown, is pointedly grim but artfully composed. Vuletic and his cinematographer Jelena Stankovic repeatedly use static master shots that are symmetrical and geometrically precise, conjuring up a painterly aesthetic despite their obviously modest budget. If Wes Anderson made a movie about suicidal Balkan widows, it would probably look like this.

Sonically as well as visually, Requiem for Mrs. J has hidden depths. Vuletic and his team make sparing but effective use of droning, eerie, unnatural sound design and hallucinatory images to evoke Jelena's scrambled mental state. Out of the blue, they also include a glorious straight-to-camera musical interlude that lifts the mood from mournful wake to lusty celebration.

Production companies: SEE Film Pro, Geopoly, Skopje Film Studio, Non-Stop Production, Surprise Alley
Cast: Mirjana Karanovic, Jovana Gavrilovic, Danica Nedeljkovic, Vucic Perovic, Mira Banjac
Director, screenwriter: Bojan Vuletic
Producer: Nenad Dukic
Cinematographer: Jelena Stankovic
Editor: Vladimir Pavlovski
Sound designer: Boris Trayanov
Production designer: Zorana Petrov
Venue: Berlin International Film Festival (Panorama Special)
Sales: Soul Food, Belgrade

94 minutes

_________________
Ivan Velisavljević


Top
 Profile  
 
 Post subject: Re: Rekvijem za gospođu J. (Vuletić, 2017)
PostPosted: Mon May 15, 2017 8:48 am 
Offline
User avatar

Joined: Wed Nov 07, 2007 1:00 pm
Posts: 1464
Odavno sam održao govor masama o Vuletićevoj GOSPOĐI J. u emisiji VELIKA ILUZIJA Sandre Perović, ali neka ga i ovde zarad suda istorije i o filmu i o kritici, i o emisiji.

Rekvijem za gospođu J., drugi film Bojana Vuletića, crnohumorna je drama sa elementima socijalne kritike, stilski na tragu rumunskog novog talasa i tzv. sporog filma. Priča prati Jelenu Stojković, gospođu J., koja je radni vek provela u administraciji društvene firme, da bi u vremenu privatizacije i stečaja, pred penziju, dobila otkaz kao tehnološki višak, a netom pre ostala i bez muža. Usamljena i potištena, gospođa J. odlučuje da izvrši samoubistvo na godišnjicu muževe smrti – ali u savremenoj Srbiji ni umreti nije lako. Zapetljana administracija pred gospođu J. stavlja nerešiv problem i sve dublje je gura u depresivne ruševine socijalističkog blagostanja, a vrli kapitalistčki svet sa privatnim penzionim fondovima i robovskim radnim mestima, nudi joj samo razlog više da legne u grob. Da stvar bude gora, ni njene dve ćerke nemaju trunke razumevanja i žele da im se majka skloni s puta.

Ipak, ovu tešku temu Vuletić tretira bez patetike, sa odmerenom mešavinom ironije, humora i tuge. Budući da publika zna da gospođa J. planira samoubistvo, ali drugi likovi ne znaju, taj nesklad omogućava crni humor i dramsku ironiju, ali Vuletić ispravno odlučuje da ih priguši, i nikada ne dozvoljava da Rekvijem za gospođu J. pređe u neukusno preterivanje u dijalozima i glumi. Na dramaturškom planu, doduše, deluje kao konstrukcija to što se niz prelomnih događaja sruči na gospođu J. baš tokom sedmice u kojoj je odlučila da se ubije, a za neupućene gledaoce može biti nejasna administrativna zavrzlama oko povezivanja staža i zdravstvene knjižice. Srećom, vizuelni plan uspeva da iskupi oba nedostatka.

Isprane, hladne boje i distancirana, statična kamera, tek povremeni, uzdržani farovi, precizno komponovani široki planovi sa likovima u samom centru kadra, ili sasvim u dubini, sugerišu ravnodušnost gospođe J. prema okruženju – na čemu treba čestitati direktorki fotografije Jeleni Stanković. Hvale vredan je i rad scenografkinje Zorane Petrov. U prosečnom stanu ukrašenom porcelanskim figuricama i miljeima sva vrata su stalno otvorena, a ukućani, kao po sceni pozorišta koje izvodi samo nepodnošljive pozorišne svađe, nervozno ili tromo tumaraju, od frižidera do sudopere i od televizora do kupatila, i proizvode veliku larmu kao u Kafkinim pričama. Gospođi J., međutim, svet deluje obesmišljeno, hvata je u svoje sivilo i belinu, u linije i kvadrate, i neprekidno zatrpava predmetima – kuhinjskim alatkama, posuđem, robom široke potrošnje u lokalnom dućanu i hipermarketu kraj groblja. Kroz sve to gospođa J., u izvrsnom tumačenju Mirjane Karanović, prolazi usporeno, opuštenih usana i odsutnog pogleda, da bi zastala samo pred simbolima mrtvila i neumitne prolaznosti – svom starom automobilu probušenih guma, po kom pada lišće i hvata se rđa, muževom grobu i ruiniranim halama fabrike u kojoj je nekada radila.

Kada se sve sabere, Rekvijem za gospođu J. je promišljen, vešto i precizno realizovan kamerni art film, kom fali samo korak do izvanrednog, ali koji se mirne duše može preporučiti. Posle Praktičnog vodiča kroz Beograd s pevanjem i plakanjem, Bojan Vuletić pronašao je stilski izraz i tematiku koja mu potpuno odgovara, i zato željno čekam njegov sledeći film.

Video od 19m 36s na:
https://youtu.be/FwSOySVid-w?t=19m36s

_________________
Ivan Velisavljević


Top
 Profile  
 
Display posts from previous:  Sort by  
Post new topic Reply to topic  [ 4 posts ] 

All times are UTC + 1 hour


Who is online

Users browsing this forum: No registered users and 2 guests


You cannot post new topics in this forum
You cannot reply to topics in this forum
You cannot edit your posts in this forum
You cannot delete your posts in this forum
You cannot post attachments in this forum

Search for:
Jump to:  

2007 Novi kadrovi, projekat podržali Open Society Institute New York i Swiss Cultural Programme Pro Helvetia Beograd, sajt Luka Činč

Powered by phpBB © 2000, 2002, 2005, 2007 phpBB Group