Filmofil.ba sa ponosom predstavlja kritike mladih autora nastale u okviru ovogodišnjeg programa Talents Sarajevo na 22. Sarajevo Film Festivalu
Piše: Janka Pozsonyi Prevod sa engleskog: Bojana Pušara
Debeljuškasti maskirani čovjek sa uvrnutim smislom za humor, jastučićima, perikom i lažnim zubima pokušava da se zbliži sa svojom otuđenom kćerkom tokom sto šezdeset i dvije minute filmskog ostvarenja koje je bilo najveća kanska senzacija. Toni Erdmann, film Maren Ade, izvanredan je i dirljiv film koji prikazuje krhke veze između oca i kćerke, evocira širok raspon osjećaja i uspomena koji odjekuju u životu svakog gledaoca.
Ines Conradi (Sandra Hüller) je mlada njemačka karijeristica sa velikim ambicijama u naftnom biznisu kojim dominiraju muškarci i trenutno živi u Bukureštu. Uprkos njenoj posvećenosti, u stalnoj je borbi za svoju poziciju i poštovanje kolega što je neprekidno čini nesigurnom. Kada njen trapavi otac koga se stidi pokuca na vrata da bi nadoknadio nekoliko posljednjih godina njihovog otuđenja i počne da zbija uvrnute šale i da je sramoti u prisustvu njenog potencijalnog poslovnog klijenta, Ines još jednom podiže odbrambeni zid oko sebe. Iako Winfried napušta Bukurešt uslijed komunikacijskog fijaska, njegov misterozni i samopouzdani alter ego Toni Erdmann stupa na scenu i polako, ciglu po ciglu, počinje da ruši kćerkin odbrambeni zid, čemu Ines više ne može da se usprotivi. Ines odmah prepoznaje svog oca i prihvatanjem njegovog prisustva otpočinje igra koju je sam izmislio - stavljaju koverte jedno ispred drugog kao lijekove protiv hrkanja i razgovaraju o osjećajima sa ciljem da njihov odnos ostane tajna.
Tokom ovog filma, jasne su sličnosti sa vlastitim bitkama koje vodimo. Pretvaramo se da razgovaramo preko telefona da bismo izbjegli sagovornika, pravimo lažni pristojni gest nakon što primimo poklon, osjećamo se nesigurno na radnom mjestu – svi smo to prošli. Čvrstina likova i njihovi međusobni osjećaji – stid, gađenje, ponos ili zadirkivanje - čine nas i sretnim i tužnim iz istog razloga, a to je zadovoljstvo što smo se prepoznali.
Magija tokom filma nastaje zbog jednostavne ravnoteže izmedju dirljive drame inteligentnog humora, najviše zahvaljujući gestikulaciji Winfrieda/Tonija, ustegnutim reakcijama Ines i predstavnicima korporacijskog sveta Rumunije koji u ovoj porodičnoj priči čine bitan komični element. Ritmična struktura sortirana je po epizodama i laganog je koraka tako da gledalac može sve da proživi i uživa u svakom trenutku, a gotovo cijeli film eksplodira u jednoj sceni pred sam kraj, kada Ines organizuje rođendansku zabavu. To je scena nad scenama ovog filma i predstavlja zlatni grumen u svijetu komedije.
Maren Ade zaista poznaje ljude. Njena režija, način snimanja i vođenje glumaca ukazuju na to da je i sama upoznata sa vlastitom nesigurnošću, načinom na koji se svađa ili rješava konflikte, ranjivošću i nastojanju da učini stvari boljim tako što će ih prihvatiti i našaliti se.
Fillmofil.ba proudly represents the works of young critics done in program Talents Sarajevo of 22nd Sarajevo Film Festival
The Magical Furry Man to the Rescue
Written by: Janka Pozsonyi Translation: Bojana Pušara
A chubby man in disguise, with an awkward sense of humour - that needs accessories like fart cushions, wigs and fake teeth – trying to connect with his estranged daughter through 162 minutes of playtime was this year’s biggest Cannes sensation. Toni Erdmann by Maren Ade is an overwhelming and hilarious feature, showing a fragile relationship between a father and a daughter, evoking a wide range of emotions and joy, that echoes the lives of us all.
Ines Conradi (Sandra Hüller) is a young German career woman, with big ambitions in the male dominated world of oil business, recently relocated to Bucharest. Despite her serenity, she is in a constant battle for her position at the company, the colleagues' respect, and with her own insecurity. When her embarassing and clumsy father shows up at the door, to catch up on the last few years of actual and emotional distance between them, making awkward jokes and humiliating her in front of her potential client, Ines is once again building a wall around her. Although Winfried is leaving Bucharest after the failure to communicate, his confident and mysterious alterego, Toni Erdmann appears on the scene instead and slowly starts to break down this wall, brick by brick, by putting her in situations, she can’t avoid anymore. Ines immediately recognizes his father, and by accepting Toni’s presence, she starts to play the game, that her father invented – pushing the envelope like snorting drugs in front of each other, and talking about their feelings in code to keep their relation a secret.
By meeting the Conradis and their company of acquaintances during the three hour joyride that is the film, we find ourselves noticing similarities with our own battles. Pretending to be on the phone, just to avoid conversation, making the fake-polite gesture after receiving a weird gift, or just feeling insecure at the workplace – we’ve all been there, we’ve all done that. The solidity of the characters, and their feelings towards each other – whether its embarassment, disgust, pride or just a general tease – makes us sad and happy for the same reason, the delight of recognition.
What makes the magic happen in the film, is simply this balance between the touching drama and the intelligent humour, thanks mostly to the gestures of Winfried/Toni, the uptight reactions of Ines, and the representatives of the Romanian corporate world, who are serving as an equally comic addition, as the family’s story. The slow-paced, episodic, but very rhytmic structure lets the viewer live through and enjoy all these moments, all of which, bursts out in one scene near the ending, that rules them all – a birthday party, that is pure comedy gold.
Maren Ade indeed knows people. Her directing of the actors, the meticulous shooting process, and the fine editing shows that she is familiar with their insecurity, vulnerability, the way they argue or avoid conflicts, and their endeavor to make things a little bit better with humour and acceptance.
