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Hororičnost odrastanja, ulaska u pubertet ili snalaženja u pubertetu, karakterizirala je metaforičke filmove strave i užasa na ovogodišnjem Sundance festivalu, finsko-švedskog "Hatching" (izvorno "Pahanhautoja"; hrvatski "Izlijeganje") do španjolskog "Piggy". Oba filma stigla su i do hrvatskih festivala. "Piggy" se nedavno premijerno ukazao na FMFS-u, a "Hatching" ima premijeru na Fantasticu.

Filmovi su različiti, ali imaju nekih spojnica, od usamljene i potlačene mlade tinejdžerice koja ispoljava monstruoznu stranu, do kritike internetske nekulture, ovdje u vidu "vloga" na temu savršene obiteljske svakodnevice ("Lovely Everyday Life") u režiji matere glavnog ženskog lika. "Vlogerski" kadrovi otvaraju "Izlijeganje".

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FILM: Pahanhautoja; horor; Finska/Švedska, 2022. REŽIJA: Hanna Bergholm ULOGE: Siiri Silalinna, Sophia Heikkilä OCJENA: *** ½

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Upoznajemo mater, u kreditima znakovito zavedenu samo kao Mother (Sophia Heikkilä), koja vodi glavnu riječ u obitelji, dekorirajući kuću i ukućane na sliku i priliku idile iz predgrađa.

Kad u njezinu kuću jednog dana kroz zatvoreni prozor uleti vrana i porazbija pokućstvo klepetajući krilima, uključujući luster, mater će zavrnuti vratom nesretnoj ptici i dati užasnutoj kćerki, 12-godišnjoj gimnastičarki Tinji (Siiri Silalinna), da je baci u smeće.

Finska redateljica Hanna Bergholm u uvodu ovjekovječuje upečatljive slike krvavog perca na prozorskom staklu i krilca koje se trzne u kanti za smeće, navješćujući kasniju metaforičnost i simboliku filma (krv kao metafora za menstruaciju). Pod okriljem noći Tinja dolazi do kante kako bi pokopala pticu u susjednoj šumi, a kad otkrije da vrana nije posve mrtva, presudi joj kamenom iz sažaljenja i uzme (njezino?) jaje koje pronađe u blizini i sakrije u velikom plišanom medvjedu ispod svoga kreveta.

Kako Tinja sve više postaje frustrirana i potiskuje bijes zbog prevelikih očekivanja perfekcionistički i zapovjednički nastrojene majke od nje i njezine gimnastičke karijere, tako jaje sve više raste, kao preslik njezine rastuće tjeskobe, dok ne postane znatno veće od plišanog medvjeda.

Kad jedne večeri Tinjine suze počnu kapati po jajetu, unutar kojeg se čuje otkucavanje srca, kora jaja počne krckati i vrijeme je za titularno izlijeganje. Dotad "Hatching" znade djelovati kao amaterska produkcija, ali naglo se popravlja pojavom solidno (i većinski praktično) kreirana monstruma.

Iz jajeta izlazi šokantno groteskna pernata kreatura koja postaje "simbiotski" povezana s Tinjom i djeluje kao djevojčina podsvijest, tipa kad napadne njezinu novu susjedu i najveću konkurenticu (Ida Määttänen) s nadolazećeg gimnastičarskog natjecanja na kojem, dakako, mora odnijeti pobjedu da joj mater bude zadovoljna.

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Materi je važniji "picture-perfect" privid obiteljske sreće prema okolini od toga da su članovi njezine familije, počevši od Tinje, zapravo sretni. Stoga, koliko god bizarno i groteskno bilo, nije čudno da se Tinja počinje ponašati kao mama pernatoj kreaturi i bolja je u toj ulozi od njezine matere.

Tinja naziva stvorenje Alli i istinski se brine o njoj, hrani je kao što ptice hrane mlade ptiće usitnjujući obrok u vlastitim ustima itd. Stvorenje je dojmljiv primjerak animatronike kreatora Gustava Hoegena (radio na "Prometeju", drugom "Jurskom svijetu" i devetim "Ratovima zvijezda", tj. "Usponu Skywalkera"), napravljeno kao čovjekolika vrana ili vranoliki humanoid s crnim perima, plavim očima i ljudskim zubima.

Ono će se ponašati kao čudovište od kojeg smo strahovali kao mali i gledali ispod kreveta i provjeravali ormare: dekapitirat će pse i biti spremno ubiti svakoga tko se okomi na Tinju. No, redateljici je monstrum prije svega metafora, što je jasno kad Tinja odjene Alli u žensku, kao što su svojedobno odjenuli E.T.-ja.

Metaforički je i cijeli film (poigravanja multiplim refleksijama zrcala na relaciji Tinja-mater-Alli) koji se s motivima puberteta, odnosa majka-kćerka i transformacije ženskog tijela nadovezuje na crtić "Crvena panda" do hororskog ekstrema iz domene kralja tjelesnog horora Davida Cronenberga ("Muha").

Podtekst je impresivniji od teksta u hororu koji posjećuje opća žanrovska "creature feature" mjesta i povremeno ostavlja dojam da je izvorno nastao kao kratkometražni film i bio rastegnut na dugi metar, ali je prilično nepredvidljiv dok algorijski intrigantno svodi osjetljive zbiljske teme, prelamajući strah od nepoznatog sa strahom od poznatog. Recimo samo da će Alli morfirati u nešto drugo, puno strašnije i stvarnije.

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Diploma Fakulteta umjetnosti i dizajna u Helsinkiju

Hanna Bergholm ima diplomu Fakulteta umjetnosti i dizajna u Helsinkiju. Prije ovog dugometražnog prvijenca snimila je nekoliko kratkih filmova i TV drama.

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Hororičnost odrastanja, ulaska u pubertet ili snalaženja u pubertetu, karakterizirala je metaforičke filmove strave i užasa na ovogodišnjem Sundance festivalu, finsko-švedskog "Hatching" (izvorno "Pahanhautoja"; hrvatski "Izlijeganje") do španjolskog "Piggy". Oba filma stigla su i do hrvatskih festivala. "Piggy" se nedavno premijerno ukazao na FMFS-u, a "Hatching" ima premijeru na Fantasticu.

Filmovi su različiti, ali imaju nekih spojnica, od usamljene i potlačene mlade tinejdžerice koja ispoljava monstruoznu stranu, do kritike internetske nekulture, ovdje u vidu "vloga" na temu savršene obiteljske svakodnevice ("Lovely Everyday Life") u režiji matere glavnog ženskog lika. "Vlogerski" kadrovi otvaraju "Izlijeganje".

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FILM: Pahanhautoja; horor; Finska/Švedska, 2022. REŽIJA: Hanna Bergholm ULOGE: Siiri Silalinna, Sophia Heikkilä OCJENA: *** ½

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Upoznajemo mater, u kreditima znakovito zavedenu samo kao Mother (Sophia Heikkilä), koja vodi glavnu riječ u obitelji, dekorirajući kuću i ukućane na sliku i priliku idile iz predgrađa.

Kad u njezinu kuću jednog dana kroz zatvoreni prozor uleti vrana i porazbija pokućstvo klepetajući krilima, uključujući luster, mater će zavrnuti vratom nesretnoj ptici i dati užasnutoj kćerki, 12-godišnjoj gimnastičarki Tinji (Siiri Silalinna), da je baci u smeće.

Finska redateljica Hanna Bergholm u uvodu ovjekovječuje upečatljive slike krvavog perca na prozorskom staklu i krilca koje se trzne u kanti za smeće, navješćujući kasniju metaforičnost i simboliku filma (krv kao metafora za menstruaciju). Pod okriljem noći Tinja dolazi do kante kako bi pokopala pticu u susjednoj šumi, a kad otkrije da vrana nije posve mrtva, presudi joj kamenom iz sažaljenja i uzme (njezino?) jaje koje pronađe u blizini i sakrije u velikom plišanom medvjedu ispod svoga kreveta.

Kako Tinja sve više postaje frustrirana i potiskuje bijes zbog prevelikih očekivanja perfekcionistički i zapovjednički nastrojene majke od nje i njezine gimnastičke karijere, tako jaje sve više raste, kao preslik njezine rastuće tjeskobe, dok ne postane znatno veće od plišanog medvjeda.

Kad jedne večeri Tinjine suze počnu kapati po jajetu, unutar kojeg se čuje otkucavanje srca, kora jaja počne krckati i vrijeme je za titularno izlijeganje. Dotad "Hatching" znade djelovati kao amaterska produkcija, ali naglo se popravlja pojavom solidno (i većinski praktično) kreirana monstruma.

Iz jajeta izlazi šokantno groteskna pernata kreatura koja postaje "simbiotski" povezana s Tinjom i djeluje kao djevojčina podsvijest, tipa kad napadne njezinu novu susjedu i najveću konkurenticu (Ida Määttänen) s nadolazećeg gimnastičarskog natjecanja na kojem, dakako, mora odnijeti pobjedu da joj mater bude zadovoljna.

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Materi je važniji "picture-perfect" privid obiteljske sreće prema okolini od toga da su članovi njezine familije, počevši od Tinje, zapravo sretni. Stoga, koliko god bizarno i groteskno bilo, nije čudno da se Tinja počinje ponašati kao mama pernatoj kreaturi i bolja je u toj ulozi od njezine matere.

Tinja naziva stvorenje Alli i istinski se brine o njoj, hrani je kao što ptice hrane mlade ptiće usitnjujući obrok u vlastitim ustima itd. Stvorenje je dojmljiv primjerak animatronike kreatora Gustava Hoegena (radio na "Prometeju", drugom "Jurskom svijetu" i devetim "Ratovima zvijezda", tj. "Usponu Skywalkera"), napravljeno kao čovjekolika vrana ili vranoliki humanoid s crnim perima, plavim očima i ljudskim zubima.

Ono će se ponašati kao čudovište od kojeg smo strahovali kao mali i gledali ispod kreveta i provjeravali ormare: dekapitirat će pse i biti spremno ubiti svakoga tko se okomi na Tinju. No, redateljici je monstrum prije svega metafora, što je jasno kad Tinja odjene Alli u žensku, kao što su svojedobno odjenuli E.T.-ja.

Metaforički je i cijeli film (poigravanja multiplim refleksijama zrcala na relaciji Tinja-mater-Alli) koji se s motivima puberteta, odnosa majka-kćerka i transformacije ženskog tijela nadovezuje na crtić "Crvena panda" do hororskog ekstrema iz domene kralja tjelesnog horora Davida Cronenberga ("Muha").

Podtekst je impresivniji od teksta u hororu koji posjećuje opća žanrovska "creature feature" mjesta i povremeno ostavlja dojam da je izvorno nastao kao kratkometražni film i bio rastegnut na dugi metar, ali je prilično nepredvidljiv dok algorijski intrigantno svodi osjetljive zbiljske teme, prelamajući strah od nepoznatog sa strahom od poznatog. Recimo samo da će Alli morfirati u nešto drugo, puno strašnije i stvarnije.

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Diploma Fakulteta umjetnosti i dizajna u Helsinkiju

Hanna Bergholm ima diplomu Fakulteta umjetnosti i dizajna u Helsinkiju. Prije ovog dugometražnog prvijenca snimila je nekoliko kratkih filmova i TV drama.

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StoryEditorOCM
Film & TVCINEMARK NA FESTIVALU

‘Izlijeganje‘: Što je prije, pernato čudovište ili jaje?

Piše Marko Njegić
9. srpnja 2022. - 16:29
22679374
PREMIUM
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Hororičnost odrastanja, ulaska u pubertet ili snalaženja u pubertetu, karakterizirala je metaforičke filmove strave i užasa na ovogodišnjem Sundance festivalu, finsko-švedskog "Hatching" (izvorno "Pahanhautoja"; hrvatski "Izlijeganje") do španjolskog "Piggy". Oba filma stigla su i do hrvatskih festivala. "Piggy" se nedavno premijerno ukazao na FMFS-u, a "Hatching" ima premijeru na Fantasticu.

Filmovi su različiti, ali imaju nekih spojnica, od usamljene i potlačene mlade tinejdžerice koja ispoljava monstruoznu stranu, do kritike internetske nekulture, ovdje u vidu "vloga" na temu savršene obiteljske svakodnevice ("Lovely Everyday Life") u režiji matere glavnog ženskog lika. "Vlogerski" kadrovi otvaraju "Izlijeganje".

Upoznajemo mater, u kreditima znakovito zavedenu samo kao...

#CINEMARK#CINEMARK NA FESTIVALU#HORORI#FINSKI FILMOVI#HANNA BERGHOLM#SIIRI SILALINNA#SOPHIA HEIKKILÄ#FANTASTIC ZAGREB FILM FESTIVAL
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