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Loš predosjećaj stvara se od prvih kadrova snažne drame "Quo Vadis, Aida?", dosad najboljeg filma Jasmile Žbanić, boljeg i od "Grbavice" koja joj je donijela Zlatnog medvjeda. Vraćeni smo u ratnu Bosnu u srpnju 1995. godine. Vjetar nježno povija grane stabla pomilovane suncem, ali već iduće sekunde tenk pregazi naizgledni film Terrencea Malicka u nastajanju.

Snimajući dramu o genocidu u Srebrenici, Žbanić ne može biti poetična kao Malick u predratnom "Skrivenom životu", samo brutalno realistična. Realizam je u startu utkan u "Quo Vadis, Aida?". Vijesti javljaju da se Srebrenica pretvara u najveću klaonicu i da svake sekunde tri projektila padnu na grad.

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FILM: Quo Vadis, Aida?; drama; BiH/Austrija/Rumunjska/Nizozemska/Njemačka/Poljska/Francuska/Norveška/Turska, 2020. REŽIJA: Jasmila Žbanić ULOGE: Jasna Đuričić, Emir Hadžihafizbegović OCJENA: ****

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"Da li itko u svijetu može doći i vidjeti šta se dešava", pita se reporter u dokumentarističkom uvodu. Netko je iz svijeta došao i vidio "šta se dešava" (UN, s naglaskom na nizozemski bataljun), ali nije ništa napravio da to spriječi, već ispratio masakr 8372 stanovnika Srebrenice očima nijema svjedoka.

Bolna spoznaja proganja film koji se nakon uvodne dokumentaristike smješta unutar doku-drame s elementima trilera. "Quo Vadis, Aida?" se u tom filmskom pogledu može donekle usporediti s norveškim doku-dramskim filmom "Utoya, 22. srpnja" Erika Poppea.

Žbanić gradi dramsku napetost na zasadama dokumentarne neposrednosti i hitnosti prateći bosansku profesoricu povijesti Aidu (izvanredna Jasna Đuričić) koja radi kao prevoditeljica za UN i pokušava supruga i sinove (Izudin Bajrović, Boris Ler, Dino Bajrović) smjestiti na sigurno, daleko od pušaka bosansih Srba predvođenih Ratkom Mladićem (jezivo izvrsni Boris Isaković).

Priča nije subjektivizirana kamerom iz prve ruke u "found footage" stilu kao u "Utoyi", ali je duboko personalizirana i odvija se u (približno) realnom vremenu, kronicirajući eskalaciju opipljive prijetnje, straha i panike u UN-ovu kampu za izbjeglice iz Srebrenice, nakon opsade i pada istoimena grada. Ovo je Aidina priča ispričana njezinim očima – ona sublimira i simbolizira sve žene Srebrenice koje su izgubile "sinove, očeve, muževe, braću, rođake, komšije".

Sudbina Aidinih bližnjih je, slutimo, zapečaćena, kao i mnogih nesretnih muškaraca iz kampa. No, Žbanić, a sa njom i sve involviraniji gledatelj, kao da pokušava u glavi nekako preokrenuti u stvarnosti unaprijed zacrtanu neizbježnost i sigurnu smrt, u nemogućnosti da i 25 godina kasnije povjeruje(mo) kako je svijet mogao dopustiti da se nešto tako grozno dogodi u novije doba, 1995., ne 1945. godine.

Scene razdvajanja Srebreničana po spolu i trpanja muškaraca u buseve koji ih voze na posljednju životnu stanicu posjećaju na grozote Drugog svjetskog rata, a tu je i "anti-malickovski" prizor bodljikave žice okupane suncem kao jasna aluzija na izbjeglice današnjice koji prolaze i kroz našu regiju ograđenu mržnjom.

Sve to gledamo Aidinim očima i sa njom smo u svakom trenutku filma dok nosi teško breme na leđima i pokušava pregovarati s UN-ovcima, manevrirati između njihovih zapovjednika koji se često igraju gluhog telefona i "prave Englezi" iako su Nizozemci, da bi ih na koncu molila i kumila za zaštitu najmilijih, klečeći na koljenima, kad se nađe pred "Sophiejinim izborom" kao Meryl Streep i istoimenoj drami. Intenzitet "Aide" je priličan, osobito na razini pojedinih scena, primjerice svaki put kad se u kadru nađe krvnik Joka u tumačenju strašno dobrog Emira Hadžihafizbegovića.

Žbanić je uhvatila mirise (znoj) i boje ljudskog očaja, sav stres, neljudskost i kaos rata, čak i u usputnim prizorima, kad se kamera prolazeći kroz Srebrenicu načas zaustavi da snimi psa i igračku helikoptera čija se elisa vrti u prazno. Druga polovica "Aide" ledi krv u žilama i gleda se "na iglama", sve do scene strijeljanja nesretnika u lokalnom kinu ("Sad će film!"), snimljene tako da se isprve samo vide cijevi strojnica i potom čuju hici izvan kadra.

Svaka minuta je dragocjena i Žbanić režira Aidino navigiranje kroz kamp kao pitanje "života i smrti" ne samo za njezinu familiju, već i sve ostale, a u uzaludnoj nadi da će nekako ipak prevladati "život" ili da je barem trebao. Krvava povijest se, ironično, ispisuje pred očima profesorice povijesti i prevoditeljice koja o(p)staje izgubljena u prijevodu i 25 godina poslije Srebrenice.

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Belgijski glumac nominiran za EU Oscara u ulozi Nizozemca

Za ulogu nizozemskog zapovjednika, pukovnika Karremansa, koji se lomi između naredbi i savjesti Žbanić je angažirala belgijskog glumca Johana Heldenbergha koji se proslavio ulogom u filmu "Alabama Monroe" ("The Broken Circle Breakdown"). Heldenbergh je za tu ulogu dobio nominaciju za europskog Oscara, a film se naša u konkurenciji za američkog.

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Loš predosjećaj stvara se od prvih kadrova snažne drame "Quo Vadis, Aida?", dosad najboljeg filma Jasmile Žbanić, boljeg i od "Grbavice" koja joj je donijela Zlatnog medvjeda. Vraćeni smo u ratnu Bosnu u srpnju 1995. godine. Vjetar nježno povija grane stabla pomilovane suncem, ali već iduće sekunde tenk pregazi naizgledni film Terrencea Malicka u nastajanju.

Snimajući dramu o genocidu u Srebrenici, Žbanić ne može biti poetična kao Malick u predratnom "Skrivenom životu", samo brutalno realistična. Realizam je u startu utkan u "Quo Vadis, Aida?". Vijesti javljaju da se Srebrenica pretvara u najveću klaonicu i da svake sekunde tri projektila padnu na grad.

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FILM: Quo Vadis, Aida?; drama; BiH/Austrija/Rumunjska/Nizozemska/Njemačka/Poljska/Francuska/Norveška/Turska, 2020. REŽIJA: Jasmila Žbanić ULOGE: Jasna Đuričić, Emir Hadžihafizbegović OCJENA: ****

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"Da li itko u svijetu može doći i vidjeti šta se dešava", pita se reporter u dokumentarističkom uvodu. Netko je iz svijeta došao i vidio "šta se dešava" (UN, s naglaskom na nizozemski bataljun), ali nije ništa napravio da to spriječi, već ispratio masakr 8372 stanovnika Srebrenice očima nijema svjedoka.

Bolna spoznaja proganja film koji se nakon uvodne dokumentaristike smješta unutar doku-drame s elementima trilera. "Quo Vadis, Aida?" se u tom filmskom pogledu može donekle usporediti s norveškim doku-dramskim filmom "Utoya, 22. srpnja" Erika Poppea.

Žbanić gradi dramsku napetost na zasadama dokumentarne neposrednosti i hitnosti prateći bosansku profesoricu povijesti Aidu (izvanredna Jasna Đuričić) koja radi kao prevoditeljica za UN i pokušava supruga i sinove (Izudin Bajrović, Boris Ler, Dino Bajrović) smjestiti na sigurno, daleko od pušaka bosansih Srba predvođenih Ratkom Mladićem (jezivo izvrsni Boris Isaković).

Priča nije subjektivizirana kamerom iz prve ruke u "found footage" stilu kao u "Utoyi", ali je duboko personalizirana i odvija se u (približno) realnom vremenu, kronicirajući eskalaciju opipljive prijetnje, straha i panike u UN-ovu kampu za izbjeglice iz Srebrenice, nakon opsade i pada istoimena grada. Ovo je Aidina priča ispričana njezinim očima – ona sublimira i simbolizira sve žene Srebrenice koje su izgubile "sinove, očeve, muževe, braću, rođake, komšije".

Sudbina Aidinih bližnjih je, slutimo, zapečaćena, kao i mnogih nesretnih muškaraca iz kampa. No, Žbanić, a sa njom i sve involviraniji gledatelj, kao da pokušava u glavi nekako preokrenuti u stvarnosti unaprijed zacrtanu neizbježnost i sigurnu smrt, u nemogućnosti da i 25 godina kasnije povjeruje(mo) kako je svijet mogao dopustiti da se nešto tako grozno dogodi u novije doba, 1995., ne 1945. godine.

Scene razdvajanja Srebreničana po spolu i trpanja muškaraca u buseve koji ih voze na posljednju životnu stanicu posjećaju na grozote Drugog svjetskog rata, a tu je i "anti-malickovski" prizor bodljikave žice okupane suncem kao jasna aluzija na izbjeglice današnjice koji prolaze i kroz našu regiju ograđenu mržnjom.

Sve to gledamo Aidinim očima i sa njom smo u svakom trenutku filma dok nosi teško breme na leđima i pokušava pregovarati s UN-ovcima, manevrirati između njihovih zapovjednika koji se često igraju gluhog telefona i "prave Englezi" iako su Nizozemci, da bi ih na koncu molila i kumila za zaštitu najmilijih, klečeći na koljenima, kad se nađe pred "Sophiejinim izborom" kao Meryl Streep i istoimenoj drami. Intenzitet "Aide" je priličan, osobito na razini pojedinih scena, primjerice svaki put kad se u kadru nađe krvnik Joka u tumačenju strašno dobrog Emira Hadžihafizbegovića.

Žbanić je uhvatila mirise (znoj) i boje ljudskog očaja, sav stres, neljudskost i kaos rata, čak i u usputnim prizorima, kad se kamera prolazeći kroz Srebrenicu načas zaustavi da snimi psa i igračku helikoptera čija se elisa vrti u prazno. Druga polovica "Aide" ledi krv u žilama i gleda se "na iglama", sve do scene strijeljanja nesretnika u lokalnom kinu ("Sad će film!"), snimljene tako da se isprve samo vide cijevi strojnica i potom čuju hici izvan kadra.

Svaka minuta je dragocjena i Žbanić režira Aidino navigiranje kroz kamp kao pitanje "života i smrti" ne samo za njezinu familiju, već i sve ostale, a u uzaludnoj nadi da će nekako ipak prevladati "život" ili da je barem trebao. Krvava povijest se, ironično, ispisuje pred očima profesorice povijesti i prevoditeljice koja o(p)staje izgubljena u prijevodu i 25 godina poslije Srebrenice.

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Belgijski glumac nominiran za EU Oscara u ulozi Nizozemca

Za ulogu nizozemskog zapovjednika, pukovnika Karremansa, koji se lomi između naredbi i savjesti Žbanić je angažirala belgijskog glumca Johana Heldenbergha koji se proslavio ulogom u filmu "Alabama Monroe" ("The Broken Circle Breakdown"). Heldenbergh je za tu ulogu dobio nominaciju za europskog Oscara, a film se naša u konkurenciji za američkog.

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StoryEditorOCM
Film & TVCINEMARK U KUĆNOM KINU

QUO VADIS, AIDA? Drama koja ledi krv u žilama

Piše Marko Njegić
3. prosinca 2020. - 23:49
15437992
PREMIUM
Galerija

Loš predosjećaj stvara se od prvih kadrova snažne drame "Quo Vadis, Aida?", dosad najboljeg filma Jasmile Žbanić, boljeg i od "Grbavice" koja joj je donijela Zlatnog medvjeda. Vraćeni smo u ratnu Bosnu u srpnju 1995. godine. Vjetar nježno povija grane stabla pomilovane suncem, ali već iduće sekunde tenk pregazi naizgledni film Terrencea Malicka u nastajanju.

Snimajući dramu o genocidu u Srebrenici, Žbanić ne može biti poetična kao Malick u predratnom "Skrivenom životu", samo brutalno realistična. Realizam je u startu utkan u "Quo Vadis, Aida?". Vijesti javljaju da se Srebrenica pretvara u najveću klaonicu i da svake sekunde tri projektila padnu na grad.

"Da li itko u svijetu može doći i vidjeti šta se dešava", pita se reporter u dokumentarističkom uvodu. Netko je iz svije...

#CINEMARK#CINEMARK U KUĆNOM KINU#JASMILA ŽBANIĆ#REGIONALNI FILMOVI#QUO VADIS, AIDA?
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