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Lisičinama vezani muškarac i žena sjede na stražnjem sjedištu automobila na plakatu “Dvostruke prijevare” (“Heojil kyolshim”/”Decision To Leave”), novog filma izvrsnog južnokorejskog redatelja i scenarista Chan-wook Parka, autora “Sluškinje”, “Oldboya” i “Stokera”.

Muškarčeve oči sklopljene su kao da sanja, a žena zagonetno gleda u daljinu dok prstima suptilno dodiruje njegovu ruku. Interesantno, lisičine ne upadaju odmah u oko, možda i zbog sunčeva bljeska koji razdvaja par i obasjava njihovu kosu. Plakat “Dvostruke prijevare”, nagrađene za režiju na festivalu u Cannesu efektno, preslikava romantični neo-noir triler u duhu Hitchcockove “Vrtoglavice”, ali u Parkovu stilu.

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FILM: Heojil kyolshim/Decision To Leave; triler; Južna Koreja, 2022. REŽIJA: Chan-wook Park ULOGE: Tang Wei, Park Hae-il DISTRIBUCIJA: Discovery OCJENA: **** ½

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Noirovski triler i romansa nježno su vezani lisičinama u snoliko-misterioznom, intrigantno manipulativnom filmu punom malih-velikih detalja koji vam mogu promaći ako trepnete u krivom trenutku ili vas zaslijepi Parkova režijska zraka sunca.

Parkovi filmovi još uvijek se opiru strogim žanrovskim klasifikacijama, odnosno odbijaju biti usko svedeni samo na jedan žanr koliko god koketirali s njegovom tipologijom. ”Na početku volim da je radnja kako-tako tipična, ali da s vremenom dođe do mjesta gdje žanr završava i počinje film Chan-wook Parka”, kazao je redatelj potpisniku ovih redaka u ekskluzivnom canneskom intervjuu iz 2009. Priča “Decision To Leave” jest isprve “kako-tako tipična”.

Policijski detektiv iz Busana, Hae-joon (Park Hae-il), istražuje smrt muškarca koji je pao s planine ili možda bio gurnut. Istragu je jedva dočekao jer “u zadnje vrijeme je manje ubojstava, vjerojatno zbog lijepog vremena”. Okolnosti stradavanja svakako su sumnjive, a sumnju, unatoč njezinu alibiju, potiče i ponašanje pokojnikove supruge, kineske imigrantice i medicinske sestre Seo-rae (Tang Wei).

”Konačno je poginuo”, bubne ona u jednom trenutku i otkrije da ju je muž nazvao “bezdušnom ženom”. “Konačno?”, začudi se Hae-joon. “Vjerojatno ni moja žena ne bi bila šokirana”, kasnije razmišlja policajac, a to što Seo-rae ne plače za suprugom objašnjava riječima “neke ljude preplavi tuga poput plimnog vala, kod nekih se širi kao tinta”. Hae-joonova žena (Lee Jung-hyun) radi u maglovitom gradiću zvanom Ipo i oni se praktički viđaju samo vikendima, postupno se hladeći jedno od drugog.

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Istovremeno, policajca počinje privlačiti osumnjičenica koja u njemu pali iskru ugašene strasti, što je jasno kad ženi za slučaj na kojem radi kaže da je mlada Kineskinja poginula na planini i da žali njezina muža. Nakon što Hae-joon počne noćima nadgledati Seo-rae, pateći od insomnije kao Al Pacino u “Nesanici”, film ne otvara do kraja “Prozor u dvorište”, niti postavlja “Policijsku zasjedu”.

Prismotra je drukčijeg tipa i nadgledanje graniči s opsesivnim vrebanjem, ali je opet i romantične prirode, budući da Hae-joon, bez voajerskih seksualnih konotacija, zamišlja da je pored Seo-rae ili u njezinom stanu dok ona spava u neudobnom položaju uz TV itd., zahvaljujući Parkovim sjajnim redateljskim rješenjima, uposlenim i u akcijskih scenama potjere “na noge”. “Zaplakala je konačno”, pomisli Hae-joon gledajući Seo-rae u zgrčenom položaju, s glavom naslonjenom na rukama, ali nije.

Opsjednutost osumnjičenicom spletom okolnosti dovodi do toga da se Hae-joon preselio kod žene, ali od svih maglovitih gradića na svijetu (“Casablanca”) Seo-rae se morala doseliti baš u Ipo. I nije sama kad Hae-joon jednog dana na nju naleti u društvu svoje žene.

“Ja sam novi muž”, istupi Ho-shin (Park Yong-woo), a Seo-rae predstavlja Hae-joona kao “detektiva koji je sumnjao na mene”. Novi muž, nova smrt ili možda novo ubojstvo: Ho-shin također biva pronađen mrtav, a Hae-joon je i dalje zaljubljen u Seo-rae, ona u njega također, čini se.

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“Možda sam došla u Ipo da postanem jedan od tvojih neriješenih slučajeva”, veli Seo-rae. Policajce opsjednute osumnjičenicama za umorstvo već smo viđali u erotskim trilerima (“More ljubavi”, “Sirove strasti”...), ali “Dvostruka prijevara” nije “deja vu” i s vremenom dolazi do “mjesta gdje žanr završava i počinje film Chan-wook Parka”.

U svakom kadru može se detektirati elegantni rukopis redatelja dvaju modernih remek-djela “Oldboy” i “The Handmaiden” koji je sada možda snimio i svoj treći “masterpiece”. Iduća gledanja slojevitog filma punog “twistova” mogla bi to potvrditi. Dotad, na prvo gledanje, ovo je ozbiljan kandidat za vrhove “best of” liste 2022. godine.

Sanjiv kao “Vertigo” koji je odsanjao Park, “Decision To Leave” je “hičkokovski” film na “parkovski” način, ljubavna priča u ruhu trilera i triler u ruhu ljubavne priče koja subvertira žanr i na svakom koraku disbalansira gledateljeva žanrovska očekivanja, ali nije iznevjerio očekivanja kad je južnokorejski redatelj u pitanju. Netko može očekivati da će “fatalna privlačnost” rezultirati vrućim scenama kao u Parkovoj “Sluškinji” ili seksualno nesputanom trileru “Požuda, oprez” Anga Leeja, debiju glumice Wei.

Ništa od toga, no “Dvostruka prijevara” je svejedno erotična i seksi zaslugom magnetične Wei koja u liku Seo-rae prelama noirovsku “femme fatale”, crnu udovicu i Juliju Roberts u onoj sceni iz filma “Ja u ljubav vjerujem”. Ne zna se gdje počinje fatalna, a gdje završava zaljubljena žena. Jedan od Ho-shinovih neriješenih slučajeva.

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Od Vukovara do Raba, od Raba do kina

"Dvostruka prijevara" imala je hrvatsku premijeru na Vukovar Film Festivalu. Druga projekcija je bila rezervirana za Rab Film Festival. Iduća stanica je redovna kinodistribucija od 15. rujna.

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Lisičinama vezani muškarac i žena sjede na stražnjem sjedištu automobila na plakatu “Dvostruke prijevare” (“Heojil kyolshim”/”Decision To Leave”), novog filma izvrsnog južnokorejskog redatelja i scenarista Chan-wook Parka, autora “Sluškinje”, “Oldboya” i “Stokera”.

Muškarčeve oči sklopljene su kao da sanja, a žena zagonetno gleda u daljinu dok prstima suptilno dodiruje njegovu ruku. Interesantno, lisičine ne upadaju odmah u oko, možda i zbog sunčeva bljeska koji razdvaja par i obasjava njihovu kosu. Plakat “Dvostruke prijevare”, nagrađene za režiju na festivalu u Cannesu efektno, preslikava romantični neo-noir triler u duhu Hitchcockove “Vrtoglavice”, ali u Parkovu stilu.

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FILM: Heojil kyolshim/Decision To Leave; triler; Južna Koreja, 2022. REŽIJA: Chan-wook Park ULOGE: Tang Wei, Park Hae-il DISTRIBUCIJA: Discovery OCJENA: **** ½

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Noirovski triler i romansa nježno su vezani lisičinama u snoliko-misterioznom, intrigantno manipulativnom filmu punom malih-velikih detalja koji vam mogu promaći ako trepnete u krivom trenutku ili vas zaslijepi Parkova režijska zraka sunca.

Parkovi filmovi još uvijek se opiru strogim žanrovskim klasifikacijama, odnosno odbijaju biti usko svedeni samo na jedan žanr koliko god koketirali s njegovom tipologijom. ”Na početku volim da je radnja kako-tako tipična, ali da s vremenom dođe do mjesta gdje žanr završava i počinje film Chan-wook Parka”, kazao je redatelj potpisniku ovih redaka u ekskluzivnom canneskom intervjuu iz 2009. Priča “Decision To Leave” jest isprve “kako-tako tipična”.

Policijski detektiv iz Busana, Hae-joon (Park Hae-il), istražuje smrt muškarca koji je pao s planine ili možda bio gurnut. Istragu je jedva dočekao jer “u zadnje vrijeme je manje ubojstava, vjerojatno zbog lijepog vremena”. Okolnosti stradavanja svakako su sumnjive, a sumnju, unatoč njezinu alibiju, potiče i ponašanje pokojnikove supruge, kineske imigrantice i medicinske sestre Seo-rae (Tang Wei).

”Konačno je poginuo”, bubne ona u jednom trenutku i otkrije da ju je muž nazvao “bezdušnom ženom”. “Konačno?”, začudi se Hae-joon. “Vjerojatno ni moja žena ne bi bila šokirana”, kasnije razmišlja policajac, a to što Seo-rae ne plače za suprugom objašnjava riječima “neke ljude preplavi tuga poput plimnog vala, kod nekih se širi kao tinta”. Hae-joonova žena (Lee Jung-hyun) radi u maglovitom gradiću zvanom Ipo i oni se praktički viđaju samo vikendima, postupno se hladeći jedno od drugog.

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Istovremeno, policajca počinje privlačiti osumnjičenica koja u njemu pali iskru ugašene strasti, što je jasno kad ženi za slučaj na kojem radi kaže da je mlada Kineskinja poginula na planini i da žali njezina muža. Nakon što Hae-joon počne noćima nadgledati Seo-rae, pateći od insomnije kao Al Pacino u “Nesanici”, film ne otvara do kraja “Prozor u dvorište”, niti postavlja “Policijsku zasjedu”.

Prismotra je drukčijeg tipa i nadgledanje graniči s opsesivnim vrebanjem, ali je opet i romantične prirode, budući da Hae-joon, bez voajerskih seksualnih konotacija, zamišlja da je pored Seo-rae ili u njezinom stanu dok ona spava u neudobnom položaju uz TV itd., zahvaljujući Parkovim sjajnim redateljskim rješenjima, uposlenim i u akcijskih scenama potjere “na noge”. “Zaplakala je konačno”, pomisli Hae-joon gledajući Seo-rae u zgrčenom položaju, s glavom naslonjenom na rukama, ali nije.

Opsjednutost osumnjičenicom spletom okolnosti dovodi do toga da se Hae-joon preselio kod žene, ali od svih maglovitih gradića na svijetu (“Casablanca”) Seo-rae se morala doseliti baš u Ipo. I nije sama kad Hae-joon jednog dana na nju naleti u društvu svoje žene.

“Ja sam novi muž”, istupi Ho-shin (Park Yong-woo), a Seo-rae predstavlja Hae-joona kao “detektiva koji je sumnjao na mene”. Novi muž, nova smrt ili možda novo ubojstvo: Ho-shin također biva pronađen mrtav, a Hae-joon je i dalje zaljubljen u Seo-rae, ona u njega također, čini se.

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“Možda sam došla u Ipo da postanem jedan od tvojih neriješenih slučajeva”, veli Seo-rae. Policajce opsjednute osumnjičenicama za umorstvo već smo viđali u erotskim trilerima (“More ljubavi”, “Sirove strasti”...), ali “Dvostruka prijevara” nije “deja vu” i s vremenom dolazi do “mjesta gdje žanr završava i počinje film Chan-wook Parka”.

U svakom kadru može se detektirati elegantni rukopis redatelja dvaju modernih remek-djela “Oldboy” i “The Handmaiden” koji je sada možda snimio i svoj treći “masterpiece”. Iduća gledanja slojevitog filma punog “twistova” mogla bi to potvrditi. Dotad, na prvo gledanje, ovo je ozbiljan kandidat za vrhove “best of” liste 2022. godine.

Sanjiv kao “Vertigo” koji je odsanjao Park, “Decision To Leave” je “hičkokovski” film na “parkovski” način, ljubavna priča u ruhu trilera i triler u ruhu ljubavne priče koja subvertira žanr i na svakom koraku disbalansira gledateljeva žanrovska očekivanja, ali nije iznevjerio očekivanja kad je južnokorejski redatelj u pitanju. Netko može očekivati da će “fatalna privlačnost” rezultirati vrućim scenama kao u Parkovoj “Sluškinji” ili seksualno nesputanom trileru “Požuda, oprez” Anga Leeja, debiju glumice Wei.

Ništa od toga, no “Dvostruka prijevara” je svejedno erotična i seksi zaslugom magnetične Wei koja u liku Seo-rae prelama noirovsku “femme fatale”, crnu udovicu i Juliju Roberts u onoj sceni iz filma “Ja u ljubav vjerujem”. Ne zna se gdje počinje fatalna, a gdje završava zaljubljena žena. Jedan od Ho-shinovih neriješenih slučajeva.

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Od Vukovara do Raba, od Raba do kina

"Dvostruka prijevara" imala je hrvatsku premijeru na Vukovar Film Festivalu. Druga projekcija je bila rezervirana za Rab Film Festival. Iduća stanica je redovna kinodistribucija od 15. rujna.

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StoryEditorOCM
Film & TVCINEMARK U KINU

‘Dvostruka prijevara‘: Policajac, osumnjičenica i ‘Vrtoglavica‘

Piše Marko Njegić
20. kolovoza 2022. - 09:35
23121516
PREMIUM
Galerija

Lisičinama vezani muškarac i žena sjede na stražnjem sjedištu automobila na plakatu “Dvostruke prijevare” (“Heojil kyolshim”/”Decision To Leave”), novog filma izvrsnog južnokorejskog redatelja i scenarista Chan-wook Parka, autora “Sluškinje”, “Oldboya” i “Stokera”.

Muškarčeve oči sklopljene su kao da sanja, a žena zagonetno gleda u daljinu dok prstima suptilno dodiruje njegovu ruku. Interesantno, lisičine ne upadaju odmah u oko, možda i zbog sunčeva bljeska koji razdvaja par i obasjava njihovu kosu. Plakat “Dvostruke prijevare”, nagrađene za režiju na festivalu u Cannesu efektno, preslikava romantični neo-noir triler u duhu Hitchcockove “Vrtoglavice”, ali u Parkovu stilu.

Noirovski triler i romansa nježno su vezani lisičinama u...

#CINEMARK#CINEMARK U KINU #JUŽNOKOREJSKI FILMOVI#CHAN-WOOK PARK#TANG WEI#TRILERI#NOIR FILMOVI#FESTIVALSKI FILMOVI#VUKOVAR FILM FESTIVAL#RAB FILM FESTIVAL
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13. svibanj 2024 04:08