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Odnedavno zombiji otvaraju filmske festivale ili se na njima ravnopravno prikazuju, a donedavno su bili isključivo domena žanrovskih filmova za kina. Prevrat se dogodio 2009. kad je Venecija ugostila premijere filmova “REC 2” i “Horde”. Deset godina kasnije, čast da svečano otvori festival u Cannesu dobila je zombi-komedija “Mrtvi ne umiru” Jima Jarmuscha.

Prošle godine Cannes je otvorio slični žanrirani “Rez!” (“Coupez!”) francuskog redatelja Michela Hazanaviciusa, nagrađenog Oscarom za “Umjetnika”. Što je idući korak za žive mrtvace? Oscar? Teško, ali nikad se ne zna. No, Hazanavicius je snimio bolji i zanimljiviji zombi-film od Jarmuscha.

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FILM: Coupez!; horor komedija; Francuska, 2022. REŽIJA: Michel Hazanavicius ULOGE: Romain Duris, Berenice Bejo DISTRIBUCIJA: MCF OCJENA: *** ½

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Imao je dobre temelje za to. “Rez!” je remake japanske zombi-komedije “One Cut Of The Dead” Shin’ichira Uede iz 2017. godine, načelno nepotreban, ali solidan jer nije “holivudiziran”, kao što neki francuski filmovi znaju biti, već vjeran niskobudžetnim korijenima originala.

”One Cut Of The Dead” je imao odličnu metafilmsku premisu: ekipa filmaša snima film o zombijima kad ih napadnu pravi zombiji. Od te premise i polazi Hazanavicius te otvara “Coupez!” 30-minutnom scenom snimanja zombi filma u neprekinutom kadru, čime kao da se redatelj sprda s “1917” i sličnim “one-take” spektaklima.

Snimanje prekidaju napadi naizgled pravih zombija, što redatelj filma unutar filma Remi (Romain Duris) želi iskoristiti na način da strah glavne glumice Ave (Matilda Lutz) bude uvjerljiviji. “Zadrži taj strah”, traži Remi od Ave i glumaca umjesto da posežu umjetnim suzama i falšom krvi kojom će Lutz biti prekrivena kao u “Osveti”.

Hazanavicius uspijeva uvući gledatelja u priču o stvarnim zombijima na snimanju zombi filma na nezgodnoj lokaciji i izazivanju lokalne kletve. “Postoje glasine o ovom mjestu”, “Japanska vojska je tu vršila eksperimente na ljudima, pokušavali su oživjeti mrtve”... Čak i odgrižena ruka člana filmske ekipe izgleda kao prava, a ne lažna, rekvizit.

Istodobno, Hazanavicius polako otkriva da će “Rez!” biti “meta” horor-komedija o filmu, režiji i redateljima koji se moraju baktati sa stotinu stvari da snime ono što žele i trijumfalno uzviknu “U redu, rez!”, od natezanja s financijerima i producentima do trpljenja zvjezdanih hirova na setu, pri čemu između produkcije/procesa snimanja i potrošačkog društva kao da stavlja znak jednakosti i sugerira tko su pravi zombiji.

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Nakon što polusatna sekvencija zombi filma u filmu završi (vidjeli smo finalni proizvod) i radnja se vrati na vrijeme prije snimanja, doznajemo da Remijev projekt producira vremešna Japanka (Yoshiko Takehara) i traži da likovi imaju japanska imena, makar ih glume francuski glumci.

Uz sve to nije čudno da redatelji mogu poludjeti, snimati scenu iz 30-ak pokušaja i zajuniti da naprave sve da snime što su zamislili, pa makar prolili krv da probude mrtve kao Remi jer “žele vidjeti autentičnost”. Utoliko, “Coupez!” podsjeća na “found footage” filmove poput “Vještice iz Blaira”, “Cloverfielda”, “Karantene”...

U tim filmovima se snimanje nastavlja bez obzira na sve (“i dalje snimamo”), a snimatelji izričito zabranjuju da netko dira njihovu kameru, kamoli da je ugasi, brišući krv i druge izlučevine s objektiva. Remi je supstitut za Hazanaviciusa koji je metafilmske sklonosti pokazao i u oskarovcu “The Artist”.

Razlika je što ljubav prema klasičnim nijemim filmovima sada zamjenjuje ljubav prema niskobudžetnim (zombi) hororima i uopće jeftinim filmskim produkcijama prenaglašene glume, improviziranih specijalnih efekata na licu mjesta itd. “Rez!” se tako nadovezuje na “Eda Wooda”, “Majstora lošeg filma”, “Dolemite Is My Name” i “X” kao “hommage” filmaštvu za šaku dolara ili eura.

Taj “hommage” redatelj čini osobnijim u odnosu na Uedu tako što je uloge Remijeve supruge Nadije i kćerke Romy, koje postaju dio snimanja filma unutar filma kao glumica i asistentica režije, dodijelio svojoj stvarnoj ženi Berenice Bejo i kćeri Simone Hazanavicius. Metafilmski na kvadrat, zar ne? U redu, rez!

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Berenice između Farhadija i Hazanaviciusa

Berenice Bejo je glumila u "Prošlosti" Asghara Farhadija, a i u Hazanaviciusovu najkomercijalnijem filmu "Zabravljeni princ".

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Odnedavno zombiji otvaraju filmske festivale ili se na njima ravnopravno prikazuju, a donedavno su bili isključivo domena žanrovskih filmova za kina. Prevrat se dogodio 2009. kad je Venecija ugostila premijere filmova “REC 2” i “Horde”. Deset godina kasnije, čast da svečano otvori festival u Cannesu dobila je zombi-komedija “Mrtvi ne umiru” Jima Jarmuscha.

Prošle godine Cannes je otvorio slični žanrirani “Rez!” (“Coupez!”) francuskog redatelja Michela Hazanaviciusa, nagrađenog Oscarom za “Umjetnika”. Što je idući korak za žive mrtvace? Oscar? Teško, ali nikad se ne zna. No, Hazanavicius je snimio bolji i zanimljiviji zombi-film od Jarmuscha.

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FILM: Coupez!; horor komedija; Francuska, 2022. REŽIJA: Michel Hazanavicius ULOGE: Romain Duris, Berenice Bejo DISTRIBUCIJA: MCF OCJENA: *** ½

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Imao je dobre temelje za to. “Rez!” je remake japanske zombi-komedije “One Cut Of The Dead” Shin’ichira Uede iz 2017. godine, načelno nepotreban, ali solidan jer nije “holivudiziran”, kao što neki francuski filmovi znaju biti, već vjeran niskobudžetnim korijenima originala.

”One Cut Of The Dead” je imao odličnu metafilmsku premisu: ekipa filmaša snima film o zombijima kad ih napadnu pravi zombiji. Od te premise i polazi Hazanavicius te otvara “Coupez!” 30-minutnom scenom snimanja zombi filma u neprekinutom kadru, čime kao da se redatelj sprda s “1917” i sličnim “one-take” spektaklima.

Snimanje prekidaju napadi naizgled pravih zombija, što redatelj filma unutar filma Remi (Romain Duris) želi iskoristiti na način da strah glavne glumice Ave (Matilda Lutz) bude uvjerljiviji. “Zadrži taj strah”, traži Remi od Ave i glumaca umjesto da posežu umjetnim suzama i falšom krvi kojom će Lutz biti prekrivena kao u “Osveti”.

Hazanavicius uspijeva uvući gledatelja u priču o stvarnim zombijima na snimanju zombi filma na nezgodnoj lokaciji i izazivanju lokalne kletve. “Postoje glasine o ovom mjestu”, “Japanska vojska je tu vršila eksperimente na ljudima, pokušavali su oživjeti mrtve”... Čak i odgrižena ruka člana filmske ekipe izgleda kao prava, a ne lažna, rekvizit.

Istodobno, Hazanavicius polako otkriva da će “Rez!” biti “meta” horor-komedija o filmu, režiji i redateljima koji se moraju baktati sa stotinu stvari da snime ono što žele i trijumfalno uzviknu “U redu, rez!”, od natezanja s financijerima i producentima do trpljenja zvjezdanih hirova na setu, pri čemu između produkcije/procesa snimanja i potrošačkog društva kao da stavlja znak jednakosti i sugerira tko su pravi zombiji.

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Nakon što polusatna sekvencija zombi filma u filmu završi (vidjeli smo finalni proizvod) i radnja se vrati na vrijeme prije snimanja, doznajemo da Remijev projekt producira vremešna Japanka (Yoshiko Takehara) i traži da likovi imaju japanska imena, makar ih glume francuski glumci.

Uz sve to nije čudno da redatelji mogu poludjeti, snimati scenu iz 30-ak pokušaja i zajuniti da naprave sve da snime što su zamislili, pa makar prolili krv da probude mrtve kao Remi jer “žele vidjeti autentičnost”. Utoliko, “Coupez!” podsjeća na “found footage” filmove poput “Vještice iz Blaira”, “Cloverfielda”, “Karantene”...

U tim filmovima se snimanje nastavlja bez obzira na sve (“i dalje snimamo”), a snimatelji izričito zabranjuju da netko dira njihovu kameru, kamoli da je ugasi, brišući krv i druge izlučevine s objektiva. Remi je supstitut za Hazanaviciusa koji je metafilmske sklonosti pokazao i u oskarovcu “The Artist”.

Razlika je što ljubav prema klasičnim nijemim filmovima sada zamjenjuje ljubav prema niskobudžetnim (zombi) hororima i uopće jeftinim filmskim produkcijama prenaglašene glume, improviziranih specijalnih efekata na licu mjesta itd. “Rez!” se tako nadovezuje na “Eda Wooda”, “Majstora lošeg filma”, “Dolemite Is My Name” i “X” kao “hommage” filmaštvu za šaku dolara ili eura.

Taj “hommage” redatelj čini osobnijim u odnosu na Uedu tako što je uloge Remijeve supruge Nadije i kćerke Romy, koje postaju dio snimanja filma unutar filma kao glumica i asistentica režije, dodijelio svojoj stvarnoj ženi Berenice Bejo i kćeri Simone Hazanavicius. Metafilmski na kvadrat, zar ne? U redu, rez!

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Berenice između Farhadija i Hazanaviciusa

Berenice Bejo je glumila u "Prošlosti" Asghara Farhadija, a i u Hazanaviciusovu najkomercijalnijem filmu "Zabravljeni princ".

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StoryEditorOCM
Film & TVCINEMARK U KINU

‘Rez!‘: Humor živih mrtvaca

Piše Marko Njegić
18. siječnja 2023. - 23:59
24151930
PREMIUM
Galerija
MCF

Odnedavno zombiji otvaraju filmske festivale ili se na njima ravnopravno prikazuju, a donedavno su bili isključivo domena žanrovskih filmova za kina. Prevrat se dogodio 2009. kad je Venecija ugostila premijere filmova “REC 2” i “Horde”. Deset godina kasnije, čast da svečano otvori festival u Cannesu dobila je zombi-komedija “Mrtvi ne umiru” Jima Jarmuscha.

Prošle godine Cannes je otvorio slični žanrirani “Rez!” (“Coupez!”) francuskog redatelja Michela Hazanaviciusa, nagrađenog Oscarom za “Umjetnika”. Što je idući korak za žive mrtvace? Oscar? Teško, ali nikad se ne zna. No, Hazanavicius je snimio bolji i zanimljiviji zombi-film od Jarmuscha.

Imao je dobre temelje za to. “Rez!” je remake japanske zombi-komedije “One Cut Of The Dead” Shin’ichira U...

#CINEMARK#CINEMARK U KINU #HOROR KOMEDIJE#ZOMBI FILMOVI#ROMAIN DURIS#MATILDA LUTZ#BERENICE BEJO#MICHEL HAZANAVICIUS#FRANCUSKI FILM
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