{"id":561,"date":"2019-11-04T13:05:55","date_gmt":"2019-11-04T12:05:55","guid":{"rendered":"https:\/\/hdfd.hr\/?p=561"},"modified":"2019-11-05T08:40:31","modified_gmt":"2019-11-05T07:40:31","slug":"zanima-me-ono-sto-je-iznad-humanizma-morala-i-drustvene-igre","status":"publish","type":"post","link":"https:\/\/hdfd.hr\/en\/2019\/11\/04\/zanima-me-ono-sto-je-iznad-humanizma-morala-i-drustvene-igre\/","title":{"rendered":"ZANIMA ME ONO \u0160TO JE IZNAD HUMANIZMA, MORALA I DRU\u0160TVENE IGRE"},"content":{"rendered":"

Razgovarao:\nNikola Radi\u0107 za Le Courrier d\u2019Europe\nCentrale<\/em><\/strong><\/p>\n\n\n\n

Ildik<\/em>\u00f3 Enyedi jedan je od onih meteora ili zvijezda\npadalica europskog filma koji se pojavljuju i nestaju ostavljaju\u0107i iza sebe\nfilmske dragulje kao sjajne tragove na nebu Sedme umjetnosti. Godine 1989, njena\nbajka obojena nadrealizmom – Moje\ndvadeseto stolje\u0107e<\/strong>, u kojem je privilegirano mjesto povjereno upravo zvijezdama,\nosvaja nagradu Camera d’Or na Canneskom filmskom festivalu, zahvaljuju\u0107i\nveli\u010danstvenoj crno-bijeloj fotografiji. Nakon nekoliko ostvarenja poput filma <\/em>Simon\nm\u00e1gus (1999), Ildiko Enyedi nestaje na\n\u010ditavih 18 godina. Vratit \u0107e se na velika vrata: Tijelo i du\u0161a<\/strong> (On Body and Soul, 2017), donijet \u0107e joj Zlatnog medvjeda\ni jo\u0161 dvije nagrade na Berlinaleu, ali i nominaciju za Oscar za najbolji strani\nfilm.<\/em><\/p>\n\n\n\n

Scenaristica\ni redateljica trenutno zavr\u0161ava post-produkciju svog novog dugometra\u017enog\nigranog filma Pri\u010da moje supruge<\/strong>\n(The Story of My Wife), s gluma\u010dkom ekipom koja obe\u0107ava (Gijs Naber, L\u00e9a\nSeydoux i Louis Garrel, izme\u0111u ostalih). S Enyedi smo razgovarali nakon\nmasterclassa koji je u Zagrebu organiziralo Filmmakers Association of Croatia <\/strong>i koji je odr\u017eala zajedno s\nglavnom glumicom filma Tijelo i du\u0161a<\/strong>\nAlexandrom Borb\u00e9ly.<\/em><\/p>\n\n\n\n

Biste\nli se slo\u017eili da su komunikacija i dualnost temelji Va\u0161e filmografije? Mislim,\nizme\u0111u ostalog, na te\u017einu komunikacije u filmu Tijelo i du\u0161a<\/em>, ali i op\u0107enito na \u010destu dualnost u Va\u0161im filmovima\n(golub-pismono\u0161a i telegraf, sestre blizanke u Mom dvadesetom stolje\u0107u<\/em>, tijelo i du\u0161a, \u017eenska i mu\u0161ka energija)…<\/strong><\/p>\n\n\n\n

To\u010dno je da me\nzanima komunikacija. Za potrebe mog prvog eksperimentalnog filma Flirt: Hipn\u00f3zis<\/em>, tra\u017eila sam od\nmedicinskog hipnotizera da me hipnotizira na setu. \u017deljela sam pokazati da ja\nzaista jesam autorica tog filma, da on izra\u017eava moje namjere, ali da je\nautorica bila nesvjesna tijekom snimanja. Zanimao me je tako\u0111er i utjecaj koji\njedno ljudsko bi\u0107e ima na drugo i smatrala sam da je hipnoza ekstremni vid tog\nodnosa.<\/p>\n\n\n\n

Osim toga,\nnedavno sam zavr\u0161ila film koji se upravo bavi razlikom izme\u0111u \u017eenske i mu\u0161ke\nkomunikacije. Voljela bih snimiti i film u kojem bi glavni lik bilo drvo i u\nkojem bi jedan znanstvenik poku\u0161avao ostvariti komunikaciju s tim drvetom. Ali\nnikada o tome nisam razmi\u0161ljala na taj na\u010din: jednostavno sam znati\u017eeljna i\nslijedim tu znati\u017eelju.<\/p>\n\n\n\n

\u010cini\nse da su u Va\u0161im filmovima ljudima neophodne \u017eivotinje kako bi (ponovno)\nostvarili komunikaciju…<\/strong><\/p>\n\n\n\n

\u0160to mislite,\notkud toliko video snimaka ma\u010daka na YouTubeu? Za nas je razoru\u017eavaju\u0107e gledati\n\u017eivotinje i djecu zato \u0161to ne igraju tu izrazito kompliciranu dru\u0161tvenu igru\nkoju, recimo, M\u00e1ria (glavna junakinja filma Tijelo\ni du\u0161a<\/em>) ne uspijeva nau\u010diti. Djeca i \u017eivotinje su uvijek i vrlo duboko u\nsada\u0161njosti, reagiraju \u010ditavim tijelom i \u010ditavom du\u0161om i savr\u0161eno konzistentno.\nZbog toga gledamo te video snimke.<\/p>\n\n\n\n

U\nnjima vidimo spontanost i iskrenost…<\/strong><\/strong><\/p>\n\n\n\n

Da, ali i spontanost i\niskrenost su ono \u0161to odrasli u njima vide. \u017divotinje i djeca ne odlu\u010duju da \u0107e\nbiti iskreni. Oni jednostavno ne mogu druk\u010dije.<\/p>\n\n\n\n

Glas i rije\u010di pjeva\u010dice Laure\nMarling, \u010dije stihove koristite u filmu, podvla\u010de pote\u0161ko\u0107e u komunikaciji\nizme\u0111u junaka filma?<\/strong><\/p>\n\n\n\n

Da, prije svega rije\u010di\npjesme (What he wrote<\/em>), ali i njen veoma\nsirov i sna\u017ean izraz. U njenim pjesmama postoji ta neka trezvenost. Bilo je\nina\u010de vrlo te\u0161ko dobiti prava na tu pjesmu \u2013 \u010detiri ili pet mjeseci su nam\nodbijali zahtjeve. Tad sam poku\u0161ala prona\u0107i neku drugu pjesmu. Slu\u0161ala sam\nbrojne pjeva\u010dice zato \u0161to sam \u017eeljela \u017eenski glas sa svedenom instrumentalnom\npratnjom, ali sam brzo shvatila da su sve lijepe pjesme koje sam na\u0161la\nslatkaste, cheesy<\/em> u odnosu na\ntrezvenost Laure Marling. To proizlazi iz njenog\ntalenta. Ili mo\u017eda prije iz same njene osobnosti.<\/p>\n\n\n\n

Mo\u017eemo li povu\u0107i paralelu izme\u0111u ma\u0111arske pjesnikinje \u00c1gnes Nemes Nagy, \u010dija je pjesma inspirirala film, i stihova Laure Marling?<\/strong><\/p>\n\n\n\n

Apsolutno. Ali\n\u00c1gnes Nemes Nagy ima mnogo \u0161iru lepezu. Ona je za mene jedna od najve\u0107ih\nautorica 20. stolje\u0107a, i ne samo u Ma\u0111arskoj, iako je malo poznata van granica\nMa\u0111arske. Ona je jo\u0161 okrutnija (od Laure Marling) i samim time jo\u0161 lucidnija.\nOd osoba koje za mene imaju veliki zna\u010daj, spomenula bih i Simone Veil koja je\nimala jednu nevjerovatnu lucidnost, elementarniju i dublju od humanizma koji se\nzasniva na moralu. Ja sam se, kao ona, usredoto\u010dila na ono \u0161to je iznad svega\ntoga. Promatram ono \u0161to je iznad te male dru\u0161tvene igre, iako je i ta igra veoma\nva\u017ena.<\/p>\n\n\n\n

Humanizam\nje ipak vrlo izra\u017een u Va\u0161im filmovima, u njemu nema cinizma…<\/strong><\/p>\n\n\n\n

Ja pozivam\ngledatelja da napravi jedan korak unazad, da se udalji jo\u0161 malo i poku\u0161a\ndoku\u010diti i ono \u0161to utje\u010de na nas i \u0161to nas definira izvan tog morala i\nhumanizma, da otkrije tu \u017eivotinjsku energiju koja je dublja i elementarnija,\nkoja dolazi iz Prapovijesti, koja nas definira i koje se na\u010delno bojimo. Ali ne\nsmijemo se bojati otvoriti tu kutiju i gledati  dalje od humanizma i morala.<\/p>\n\n\n\n

U\nPohvali ljubavi<\/em> Alain Badiou pi\u0161e – ‘Ljubav\nse odnosi na sveukupnost bi\u0107a drugog, a prepu\u0161tanje tijela je materijalni\nsimbol te sveukupnosti’. <\/strong>Mo\u017ee\nli se ovaj citat primjeniti i na film Tijelo\ni du\u0161a<\/em>?<\/strong><\/p>\n\n\n\n

Da, apsolutno.\nPrema poslovici ‘ljubav je slijepa’, ali ja mislim da smo, kad smo zaljubljeni,\nsposobni gledati kroz sve te sociolo\u0161ke i druge slojeve, i da smo u mogu\u0107nosti\nvidjeti ono \u0161to je najljep\u0161e u Drugom.<\/p>\n\n\n\n

Rekli\nste da Vas je u radu na filmu inspirirao In<\/em>\nThe Mood for Love<\/em> (2000) jer, po\nVa\u0161im rije\u010dima, Wong Kar-wai ne pokazuje ni\u0161ta na povr\u0161ini ve\u0107 samo ono \u0161to se\ndoga\u0111a u dubini bi\u0107a junaka. Ali za razliku od pomalo voajerskog polo\u017eaja u\nkoji nas on stavlja, jer par promatramo kroz okvire vrata i prozora, Vi\npozivate gledatelja na unutra\u0161nje pro\u017eivljavanje s junacima. Odakle dolazi ovaj\nizbor?<\/strong><\/p>\n\n\n\n

Vizualno su ta dva filma dvije strane medalje.\nTo je\njedini film koji sam podijelila s direktorom fotografije. Rekla sam mu da \u017eelim\ntakvu tihu napetost u filmu, ali da moramo prona\u0107i na\u0161e vlastite vizualne alate\nkako bismo to izveli.<\/p>\n\n\n\n

The Story of My\nWife <\/em><\/strong>je\nekranizacija istoimenog romana <\/strong>Mil\u00e1na\nF\u00fcsta. Kako ste pristupili tom ambicioznom i kompleksnom romanu? Koje je\nelemente bilo najte\u017ee prenijeti na ekran?<\/strong><\/p>\n\n\n\n

Tijekom \u010ditavog\nfilma postoji unutra\u0161nja naracija: junak nam se obra\u0107a i upu\u0161ta se u\nsamoanalizu. Svaka re\u010denica sadr\u017ei bar dva, ali naj\u010de\u0161\u0107e tri ili \u010detiri temporalnosti.\nNajte\u017ee je bilo promijeniti tu strukturu, a na\u0161a ambicija je bila potaknuti\ngledatelja na unutra\u0161nji monolog. Radi se o situacijama iz svakodnevnog \u017eivota\nbra\u010dnog para, o iskustvima koja smo svi mi, ili na\u0161i roditelji, pro\u017eivjeli, i\n\u017eeljeli smo probuditi ta iskustva u gledatelju… Nadam se da \u0107e nam po\u0107i za\nrukom.<\/p>\n\n\n\n

Likovi u The Story of My Wife<\/em> pri\u010daju engleski, francuski, njema\u010dki, talijanski,\nnizozemski, odnosno jezik koji name\u0107u njihovo porijeklo i situacija. Mnogi redatelji\nse pak odlu\u010duju isklju\u010divo za engleski, bez obzira na porijeklo likova. \u0160to\ntime gube?<\/strong><\/p>\n\n\n\n

To je kompleksno\npitanje. U Mom dvadesetom stolje\u0107u<\/em>\nsvi likovi pri\u010daju ma\u0111arski, pa i poljska glumica i ruski glumac. Na to sam se\nodlu\u010dila, jer je taj film u stvari bajka.<\/p>\n\n\n\n

Dat \u0107u jo\u0161 jedan\nprimjer: u HBO seriji Chernobyl<\/em>\nlikovi pri\u010daju britanski engleski. Iako je ova serija snimljena za me\u0111unarodnu\npubliku, prije svega cilja na ameri\u010dke gledatelje. Kad \u010duju bla\u017ei engleski naglasak,\nAmerikanci pomisle: u redu, ovo nismo mi, ovo je Drugi, stranac, ali te likove\nshva\u0107aju ozbiljno. S druge strane, kad \u010duju imigrante iz manje razvijenih\nzemalja, to im se \u010dini smije\u0161nim, karikaturalnim. \u010cernobilska drama tako bi\nbila manje sna\u017ena. Gledaoci bi pomislili: ove \u010dudne stvari nas se ne ti\u010du. U\ntom smislu je britanski engleski bio veoma pametan izbor.<\/p>\n\n\n\n

U The Story of My Wife<\/em>, Nizozemac i\nFrancuskinja nemaju drugog izbora osim pri\u010dati engleski, ali oboje imaju\nnaglasak. Jako puno smo radili na naglasku, najvi\u0161e zbog toga \u0161to se L\u00e9a\nSeydoux mo\u017ee osloboditi svog francuskog naglaska ukoliko to \u017eeli. U to vrijeme se na brodovima s\nme\u0111unarodnom posadom pri\u010dao engleski. Ako je mlada Francuskinja \u017eeljela u\u010diti\nengleski, u\u010dila je britanski. Ulo\u017eili smo mnogo truda u rad na detaljima kako\nlikovi ne bi ispali karikaturalni.<\/p>\n\n\n\n

Prilikom\nmasterclassa na Sarajevo Film Festivalu, Alejandro Gonz\u00e1lez I\u00f1\u00e1rritu inzistirao\nje na va\u017enosti filmskog ritma. Biste li se slo\u017eili da je ritam monta\u017ee jedan od\nnajva\u017enijih elemenata filma?<\/strong><\/strong><\/p>\n\n\n\n

Apsolutno. To je\nneka vrsta plesa s univerzumom koji ple\u0161emo zajedno sa gledateljem. \u010citav na\u0161\nsvijet mo\u017ee se opisati vibracijama. Teorija struna je promijenila to\u010dku\ngledi\u0161ta postavljaju\u0107i pitanje: \u0161to se doga\u0111a ako sve fizi\u010dke elemente promatramo\nkroz vibracije? Na taj na\u010din komuniciramo sa svijetom.<\/p>\n\n\n\n

Na seriji Ter\u00e1pia <\/em>sura\u0111ivali ste sa HBOom, a Tijelo i du\u0161a<\/em> mo\u017eemo gledati na Netflixu. Predstavljaju li ove\nplatforme potporu ili opasnost za autorski film? <\/strong>Ili ih mo\u017eemo promatrati\nkao pharmakon, istovremeno i lijek i otrov?<\/strong><\/p>\n\n\n\n

Mislim da postoji\njedna druga opasnost za film. Osobno, ja sam zahvalna na ovim platformama. Prije\nsvega zato \u0161to se na njima mogu pogledati nevjerovatni dokumentarci i\nkratkometra\u017eni filmovi koji bi ina\u010de bili izgubljeni. Prije nego \u0161to se Netflix\notvorio prema filmu, autorski film izguran je iz velikih kina jednim glupim\nsistemom koji nema nikakve veze s filmovima samima. U mnogim mjestima \u0161irom svijeta\ndanas postoje samo kina koja prikazuju Marvel blockbustere i u kojima nema mjesta\nza autorski film. U tom slu\u010daju ove platforme omogu\u0107avaju ljudima da takve\nfilmove pogledaju u svom domu. Pro\u010ditala sam i da je Netflix ponovno otvorio\nThe Paris Theater u New Yorku koji obo\u017eavam. Netflix pravi odli\u010dne izbore. Film\nRoma<\/em> (Alfonsa Cuar\u00f3na) mi se jako\nsvidio, pogledala sam ga tri puta. U ovoj polemici, zlikovca treba tra\u017eiti\ndrugdje.<\/p>\n\n\n\n

Godine\n2011., bili ste me\u0111u potpisnicima otvorenog pisma u kojem ste kritizirali\nmanjak raznolikosti u ma\u0111arskoj filmskoj industriji. <\/strong>Kakva je situacija danas ?<\/strong><\/p>\n\n\n\n

Izuzetno po\u0161tujem Agnes\nHavas (ravnateljica Ma\u0111arskog nacionalnog filmskog fonda) koja je s Andrew Vajnom\n(nedavno preminuli ma\u0111arsko-ameri\u010dki producent) \u010dinila savr\u0161en par za ma\u0111arski\nfilm. Posljednjih osam godina imali smo veoma \u0161iroku lepezu filmova u\nMa\u0111arskoj: autorske filmove visoke kvalitete, komedije, povijesne filmove,\nostvarenja za raznovrsnu publiku. \u0160to se autora ti\u010de, mogli su slobodno raditi,\nslobodno se izra\u017eavati.. Prije nekoliko godina pokrenut je program Inkubator\n(od strane Ma\u0111arskog nacionalnog filmskog fonda) zahvaljuju\u0107i kojem mladi\nautori ne moraju \u010dekati godinama kako bi snimili svoj prvi film. Brojni\nfilmovi podr\u017eani od stane programa stigli su do Berlina i Cannesa.<\/p>","protected":false},"excerpt":{"rendered":"

Razgovarao: Nikola Radi\u0107 za Le Courrier d\u2019Europe Centrale Ildik\u00f3 Enyedi jedan je od onih meteora ili zvijezda padalica europskog filma koji se pojavljuju i nestaju ostavljaju\u0107i [\u2026]<\/span><\/p>\n","protected":false},"author":1,"featured_media":562,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,8],"tags":[],"class_list":["post-561","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-nekategorizirano","category-vijesti"],"yoast_head":"\nZANIMA ME ONO \u0160TO JE IZNAD HUMANIZMA, MORALA I DRU\u0160TVENE IGRE - Hrvatsko dru\u0161tvo filmskih djelatnika<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/hdfd.hr\/en\/2019\/11\/04\/zanima-me-ono-sto-je-iznad-humanizma-morala-i-drustvene-igre\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"ZANIMA ME ONO \u0160TO JE IZNAD HUMANIZMA, MORALA I DRU\u0160TVENE IGRE - 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