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Pošto je samo film otvaranja ovogodišnjeg Splitskog filmskog festivala mogao biti prikazan "uživo", u kinu "Karaman", pohvalno je da je za to odabran baš "Nulti krajolik". Ako će vrijeme pokazati koliko (ni)je bio dobar potez da STFF bude većinski "online", u startu se može reći da je direkcija festivala stopostotno pogodila s odlukom da se "Nulti krajolik" prikaže na velikom ekranu i otvori "hibridno" 26. izdanje najstarije međunarodne filmske manifestacije u Hrvatskoj.

Naime, "Nulti krajolik" je jedan od vizualno najimpresivnijih novijih hrvatskih filmova i pita kino. To je i film o životu i preživljavanju ljudi među industrijskim objektima u Kaštelanskom zaljevu i Vranjicu pokraj Splita, novi projekt mladog splitskog filmaša Bruna Pavića, inače starog znanca STFF-a ("Vlog") koji je prošle godine na ovom festivalu imao dokumentarac "Split Screens".

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FILM: Nulti krajolik; dokumentarac; Hrvatska, 2020. REŽIJA: Bruno Pavić OCJENA: **** ½

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K tome, "Nulti krajolik" je na STFF-u imao dalmatinsku premijeru. I, konačno, Pavićev film je "hibridan", baš kao 26. STFF koji ove i svake druge godine preferira slične radove "nastale u otklonu od vladajućih kanona filmske i videoprodukcije".

Pod egidom društveno-angažiranog ostvarenja lokalne prepoznatljivosti i globalne univerzalnosti, "Nulti krajolik" isprepleće dokumentarni, igrani i eksperimentalni film s umjetničkom (video)instalacijom i performansom.

Uz pomoć talentirane snimateljice (Andrea Kaštelan i njezina sjajna opservacijaka kamera), Pavić sve to radi s puno stila i okom za detalje, nadilazeći okvire hrvatskog filma(ša), stoga ne čudi da je "Nulti krajolik" stigao u Split nakon turneje po svjetskim festivalima tijekom "novog (ne)normalnog".

Prizori nekog čovjeka u zaštitnom dijelu s maskom koronski rezoniraju od Amerike do Hrvatske, a tajming je vizionarski i s kadrovima prosvjeda maskiranih ljudi. Pa ipak, iako ovo nije film o koroni, a maskirani ljudi prosvjeduju za pravo na disanje čistog zraka ("Vrijeme je da Split i okolica kažu dosta"), "Nulti krajolik" je pogodio trenutak i, neovisno o tome, svejedno se uklapa u ekološka globalna kretanja.

Zanimljivo je da Pavić ne eksplicira i ne ističe mjesta radnje filma s pojedinim natpisom na ekranu, već je dobrodošlo tajanstven, koliko i tih i kontemplativan. Domaći gledatelji će prepoznati tvorničke vedute Sućurca i Vranjica, kao i Karepovac s jatom od stotinu galebova, a strani mogu pomisliti da se film odvija i negdje drugdje u nekom drugom zagađenom i derutnom priobalnom industrijskom mjestu, s ruzinavim i ruševnim tvornicama, nečistim morem i tome slično.

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Konzekvencije industrijskog devastiranja mediteranskog mjesta jasno su vidljive u dokumentarno spontanim ili igrano-filmski insceniranim prizorima kad se lijepe plakati "Azbest u zraku, opasnost od raka pluća" ili se u kadru ukažu natpisi "Smrt nas vreba s dimnjaka".

Na trenutke se, zbog scenografske prostorno-vremenske neodređenosti "prema van", čini da gledamo (post)apokaliptični film kakav je nekoć mogao potpisati Andrej Tarkovski, dakle nešto poput "Stalkera". Tarkovski je snimio "Stalkera" kao svojevrsno upozorenje na Černobil, a aktivistički nastrojeni Pavić snima "Nulti krajolik" da otvori i zadnje zatvorene oči u vezi posljedica onoga što se dogodilo i što se još događa u Vranjicu (jedan od likova filma ima dijagnosticiran rak pluća).

"Nulti krajolik" možda neće promijeniti situaciju, no postoji da upozori ili skrene pozornost neke ekološki važne stvari, uključujuči i zagađenje plastikom koja u filmu krasi stabla na način da plastične vrećice izgledaju poput otrovnih bijelih plodova. Stječe se dojam da Pavić preuzima ulogu jednog od prosvjednika iz filma.

"Što očekujete", pita novinar tog prosvjednika. "Ništa", odgovara prosvjednik, ali je ipak tu, na prosvjedu, u nadi za bolje sutra, ako već ne danas. Pavić vjeruje u bolje sutra pa traži ljepotu u ružnoći nakaradnih industrijskih postrojenja, tipa da tvornicama suprostavlja netom vjenčani bračni par na prvom bračnom "photosessionu".

Osobni favorit među takvim kadrovima jest kadar punašnije žene u kupaćem kostimu na stijeni u prvom planu pored plavo-bijelog suncobrana, a ispred sive tvornice na drugoj strani obale. Kadar u kojem se sreću Vasko Lipovac i Tarkovski.

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Producent Perić, montažer Jokić

Na filmu je radila splitska ekipa, pa je, primjerice, producent Ivan Perić, a jedan od dvvojice montažera Slobodan Jokić (Dan Oki).

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Pošto je samo film otvaranja ovogodišnjeg Splitskog filmskog festivala mogao biti prikazan "uživo", u kinu "Karaman", pohvalno je da je za to odabran baš "Nulti krajolik". Ako će vrijeme pokazati koliko (ni)je bio dobar potez da STFF bude većinski "online", u startu se može reći da je direkcija festivala stopostotno pogodila s odlukom da se "Nulti krajolik" prikaže na velikom ekranu i otvori "hibridno" 26. izdanje najstarije međunarodne filmske manifestacije u Hrvatskoj.

Naime, "Nulti krajolik" je jedan od vizualno najimpresivnijih novijih hrvatskih filmova i pita kino. To je i film o životu i preživljavanju ljudi među industrijskim objektima u Kaštelanskom zaljevu i Vranjicu pokraj Splita, novi projekt mladog splitskog filmaša Bruna Pavića, inače starog znanca STFF-a ("Vlog") koji je prošle godine na ovom festivalu imao dokumentarac "Split Screens".

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FILM: Nulti krajolik; dokumentarac; Hrvatska, 2020. REŽIJA: Bruno Pavić OCJENA: **** ½

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K tome, "Nulti krajolik" je na STFF-u imao dalmatinsku premijeru. I, konačno, Pavićev film je "hibridan", baš kao 26. STFF koji ove i svake druge godine preferira slične radove "nastale u otklonu od vladajućih kanona filmske i videoprodukcije".

Pod egidom društveno-angažiranog ostvarenja lokalne prepoznatljivosti i globalne univerzalnosti, "Nulti krajolik" isprepleće dokumentarni, igrani i eksperimentalni film s umjetničkom (video)instalacijom i performansom.

Uz pomoć talentirane snimateljice (Andrea Kaštelan i njezina sjajna opservacijaka kamera), Pavić sve to radi s puno stila i okom za detalje, nadilazeći okvire hrvatskog filma(ša), stoga ne čudi da je "Nulti krajolik" stigao u Split nakon turneje po svjetskim festivalima tijekom "novog (ne)normalnog".

Prizori nekog čovjeka u zaštitnom dijelu s maskom koronski rezoniraju od Amerike do Hrvatske, a tajming je vizionarski i s kadrovima prosvjeda maskiranih ljudi. Pa ipak, iako ovo nije film o koroni, a maskirani ljudi prosvjeduju za pravo na disanje čistog zraka ("Vrijeme je da Split i okolica kažu dosta"), "Nulti krajolik" je pogodio trenutak i, neovisno o tome, svejedno se uklapa u ekološka globalna kretanja.

Zanimljivo je da Pavić ne eksplicira i ne ističe mjesta radnje filma s pojedinim natpisom na ekranu, već je dobrodošlo tajanstven, koliko i tih i kontemplativan. Domaći gledatelji će prepoznati tvorničke vedute Sućurca i Vranjica, kao i Karepovac s jatom od stotinu galebova, a strani mogu pomisliti da se film odvija i negdje drugdje u nekom drugom zagađenom i derutnom priobalnom industrijskom mjestu, s ruzinavim i ruševnim tvornicama, nečistim morem i tome slično.

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Konzekvencije industrijskog devastiranja mediteranskog mjesta jasno su vidljive u dokumentarno spontanim ili igrano-filmski insceniranim prizorima kad se lijepe plakati "Azbest u zraku, opasnost od raka pluća" ili se u kadru ukažu natpisi "Smrt nas vreba s dimnjaka".

Na trenutke se, zbog scenografske prostorno-vremenske neodređenosti "prema van", čini da gledamo (post)apokaliptični film kakav je nekoć mogao potpisati Andrej Tarkovski, dakle nešto poput "Stalkera". Tarkovski je snimio "Stalkera" kao svojevrsno upozorenje na Černobil, a aktivistički nastrojeni Pavić snima "Nulti krajolik" da otvori i zadnje zatvorene oči u vezi posljedica onoga što se dogodilo i što se još događa u Vranjicu (jedan od likova filma ima dijagnosticiran rak pluća).

"Nulti krajolik" možda neće promijeniti situaciju, no postoji da upozori ili skrene pozornost neke ekološki važne stvari, uključujuči i zagađenje plastikom koja u filmu krasi stabla na način da plastične vrećice izgledaju poput otrovnih bijelih plodova. Stječe se dojam da Pavić preuzima ulogu jednog od prosvjednika iz filma.

"Što očekujete", pita novinar tog prosvjednika. "Ništa", odgovara prosvjednik, ali je ipak tu, na prosvjedu, u nadi za bolje sutra, ako već ne danas. Pavić vjeruje u bolje sutra pa traži ljepotu u ružnoći nakaradnih industrijskih postrojenja, tipa da tvornicama suprostavlja netom vjenčani bračni par na prvom bračnom "photosessionu".

Osobni favorit među takvim kadrovima jest kadar punašnije žene u kupaćem kostimu na stijeni u prvom planu pored plavo-bijelog suncobrana, a ispred sive tvornice na drugoj strani obale. Kadar u kojem se sreću Vasko Lipovac i Tarkovski.

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Producent Perić, montažer Jokić

Na filmu je radila splitska ekipa, pa je, primjerice, producent Ivan Perić, a jedan od dvvojice montažera Slobodan Jokić (Dan Oki).

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StoryEditorOCM
Film & TVCINEMARK NA FESTIVALU

‘Nulti krajolik‘: Splitska apokalipsa između Lipovca i Tarkovskog

Piše Marko Njegić
16. rujna 2021. - 16:28
19341968
PREMIUM
Galerija

Pošto je samo film otvaranja ovogodišnjeg Splitskog filmskog festivala mogao biti prikazan "uživo", u kinu "Karaman", pohvalno je da je za to odabran baš "Nulti krajolik". Ako će vrijeme pokazati koliko (ni)je bio dobar potez da STFF bude većinski "online", u startu se može reći da je direkcija festivala stopostotno pogodila s odlukom da se "Nulti krajolik" prikaže na velikom ekranu i otvori "hibridno" 26. izdanje najstarije međunarodne filmske manifestacije u Hrvatskoj.

Naime, "Nulti krajolik" je jedan od vizualno najimpresivnijih novijih hrvatskih filmova i pita kino. To je i film o životu i preživljavanju ljudi među industrijskim objektima u Kaštelanskom zaljevu i Vranjicu pokraj Splita, novi projekt mladog splitskog filmaša Bruna Pavića, inače starog znanca STFF-a...

#CINEMARK#CINEMARK NA FESTIVALU#SPLITFILMFESTIVAL#BRUNO PAVIĆ#IVAN PERIĆ#ANDREA KAŠTELAN#HRVATSKI FILMOVI
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