Filmofil.ba sa ponosom predstavlja kritike mladih autora nastale u okviru ovogodišnjeg programa Talents Sarajevo na 21. Sarajevo Film Festivalu
Piše: Andra Petrescu Prevela sa engleskog: Bojana Pušara
Viaje, drugo ostvarenje mlade rediteljice Paz Fábrega, počinje kao simpatični susret momka i djevojke. To je vrsta road trip filma sa dva glumca, prekrasno snimljenog u crno bijeloj tehnici koja kao da od samog početka najavljuje da ovo neće biti mainstream romansa. Luciana i Pedro se sreću na zabavi i to poznanstvo prerasta u "vezu za jednu noć". U razgovoru na putu do njegove kuće, oboje dijele stav o nevezivanju, za razliku od njihovih prijatelja koji su u postali drugačije osobe tokom vezivanja u bračnim zajednicama i sa djecom. Oboje su mladi, lijepi i pomalo naivni, pa kako film odmiče ne stiče se utisak da imaju bilo kakav problem vezan sa stvarnošću. Sreću se, svide se jedno drugom, čini se da postoji "hemija" između njih i odlaze na nekoliko dana u Nacionalni park Rincón de la Vieja, gdje on radi kao biolog. Film obiluje prelijepim i konvencionalnim erotskim prizorima u prirodi, pri čemu uspijeva da ne postane lascivan. Privlačnost između njih je očigledna, ali Luciana nije sigurna da li da ostane, jer ne djeluje odlučno u odricanju od slobode ili svog načina života.
Putovanje; režija: Paz Fábrega; uloge: Kattia González, Fernando Bolaños; 2015.
Ovo je moderna bajka u kojoj se preklapaju uloge spolova, a patrijarhalni stereotipi se dovode u kontradikciju. Koliko god da je ovaj film progresivan u svojoj inicijalnoj namjeri, prisutan je sudar između glavne junakinje koja bi trebalo da je feministica i ženskog lika predstavljenog na isti način kao i u mnogo tradicionalnijim ljubavnim pričama. Razočaravajuće je što radnja filma navodi gledaoca da poželi njen ostanak, jer ne ostavlja dovoljno prostora za razumijevanje njenih osjećanja, pa samim tim šalje poruku koja može biti pogrešna. To može uništiti savršenu ljubavnu priču iz koje se može pobjeći, a u koju smo pozvani na samom početku. Razlog je u načinu na koji je njihov odnos predstavljen publici: fantazija značenja sreće u zajednici ili braku. Ona ne uključuje u prevelikoj mjeri seksualne fantazije, ali Paz Fábrega koristi u velikoj mjeri erotiku kao način da privuče i poveže gledaoca sa pričom.
Ako posmatramo likove, Luciana se nikada ne razotkriva gledaocu više nego Pedru. To ukazuje na njenu nesklonost da ostane dugo na istom mjestu, ali kako je to očigledno već iz prvih nekoliko redova priče, vremenom postaje zamorno. Mora se spomenuti i loša povezanost trenutka zabilježenog Kodakom u kom dvoje ljubavnika senzualno dodiruju cvijet mimosa pudica sa zamisli o njenom liku, jer je time prikazana više uplašenom nego liberalnom. Stvaranje realne progresivne priče zahtjeva više od nesigurnih i kolebljivih likova. Trebalo bi da su dovoljno komplikovani i inteligentni da postignu međusobnu jednakost. Viaje prikazuje lijepu romansu koja ne uspijeva biti iskrena u svojoj namjeri, jer je postavljena na konvencionalnom mehanizmu romanse, kome ne proturiječi, ali ga ni ne prihvata. Ostaje zaglavljena negdje u sredini i razočaravajuća, bez obzira što se može smatrati vizuelno predivnom i na momente zadivljujućom.
Fillmofil.ba proudly represents the works of young critics done in program Talents Sarajevo of 21st Sarajevo Film Festival
Viaje: A modern fairy tale
Written by: Andra Petrescu Translation: Bojana Pušara
Viaje, the second feature of young director Paz Fábrega, starts as a cute boy meets girl/road trip film with two characters, all shot beautifully in black and white as to suggest from the beginning that this is not a mainstream romance genre. Luciana and Pedro meet at a party and leave together for a simple and unattached one night stand, and as they discuss this on the way to his house, they are committed not to commit like their friends who married, had children and changed into different persons. They are gullible, young and beautiful, and as the narrative progresses, nothing from the real world seems to trouble them. They meet, they like each other, they seem to have good sexual chemistry and so she goes with him for a few days to Rincón de la Vieja National Park, where he does work as a biologist. The film unfolds with beautiful and conventional erotic imagery amongst nature, though it keeps away from actually being lascivious. They obviously like each other, but she is unsure whether to stay or leave; she doesn't seem willing to give up her lifestyle, nor her freedom.
Viaje; director: Paz Fábrega; cast: Kattia González, Fernando Bolaños; 2015
It's a modern fairy tale with gender roles overlapping and patriarchal stereotypes contradicted. However progressive the film is in its intentions, there is a conflict between having a supposedly feminist main character and actually representing a female character through the same lenses of more traditional love stories. It is disappointing that the narrative encourages the viewer to wish for her to stay because it doesn't allow space for her feelings and at the same time it sends the message that that would be wrong. It would ruin the perfect escapist love story that we were invited to. The reason this happens is because of the way their relationship is presented: a fantasy of what conjugal happiness is supposed to be. It is not so much a sexual fantasy, but Paz Fábrega does very much use eroticism as a way of making the viewer both immersed, and empathize with the story.
In terms of characters, there's a problem with how Luciana never reveals herself to the spectator more than she does to Pedro. It clearly mimics her indisposition to stay still for long, but for a story that already announced this from its first lines, it becomes tiresome, not to say that it also poorly rhymes with a Kodak moment of the two lovers sensually touching a mimosa pudica. And as it is, it shows her more afraid than liberal. Constructing a real progressive story requires more than shaky characters; they should be intelligent and complicated enough to make the equality between them work. Viaje is a nice romance story that fails to be honest in its intent, playing on conventional romantic mechanics, never contradicting them, but neither accepting them. It remains stuck somewhere in the middle, and though it may be visually beautiful and at times captivating, it is disappointing.
