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Nijedan film u povijesti prestižnog američkog Sundance festivala nije osvojio tri glavne nagrade u međunarodnom "world cinema" igranom programu. Ta čast je prošle godine pripala kosovskoj "Košnici" ("Hive"), prvijencu redateljice Blerte Basholli snimljenom prema istinitoj priči.

Osvojivši nagradu žirija i publike za najbolji film, kao i priznanje za režiju, "Košnica" je ostvarila kosovski, regionalni i globalni uspjeh za povijest. Trostruki laureat Sundancea ušao je i na tzv. oskarovski "shortlist", tj. bio u užoj selekciji za Oscara, dakle jako blizu da upadne među finalnih pet nominenata te osvoji i nominaciju za zlatni kipić u kategoriji međunarodnog filma.

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FILM: Hive; drama; Kosovo, 2021. REŽIJA: Blerta Basholli ULOGE: Yllka Gashi, Çun Lajçi DISTRIBUCIJA: Kino Mediteran OCJENA: ***

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Ipak, na kraju se "Hive" nije natjecao za Oscara, iako je sve upućivalo da bi mogao. Sličan put od Sundancea do Oscara godinu dana ranije je prošao i sjevernomakedonski dokumentarac "Medena zemlja" ili "Honeyland", s kojim kosovski film ima nekih poveznica.

Zbog Oscara se protegnuo i početak hrvatske kinodistribucije "Košnice", premijerno prikazane jesenas na Zagreb Film Festivalu. No, kad se "Hive" početkom ožujka zavrtio na otvorenju programa Kino Magistrala, projekta koji "duž Jadranske magistrale povezuje hrvatska nezavisna kina s ciljem da se publika nakon pandemijske krize u njih vrati", bilo je pitanje dana kad će film krenuti u redovnu distribuciju.

Mjesec i pol kasnije, "Košnica" je počela igrati u neovisnim hrvatskim kinima, poput splitske "Kinoteke". Ponešto precijenjen (puno zuji, malo ajvara daje) i politički iskalkuliran (odjeci rata/ženska emancipacija), ali solidan, ovaj festivalski film potvrđuje "novi val" kosovske kinematografije/kosovskih filmaša ("Tražeći Veneru" Norike Sefe, "Egzil" Visara Morine; oba osobno superiorniji) i ima potencijala doprijeti do publike koja je fino punila nezavisna domaća kina na "Medenu zemlju" i "Paralelne majke".

Kao u "Honeyland", pratimo jednu stoičku balkansku ženu koja se (isprve) bavi pčelarstvom. Kao u "Parallel Mothers", protagonistica nosi teret ratne prošlosti/traume. Ona, Fahrije u dojmljivom tumačenju istovremeno fragilne i snažne Yllke Gashi, nastavlja uzgajati pčele (med je glavni izvor prihoda obitelji), što je bio posao njezina muža, nestalog i vjerojatno stradalog tijekom rata na Kosovu krajem devedesetih.

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Fahrije, majku dvoje djece, upoznajemo kako traži i ne pronalazi supruga među beživotnim tijelima, nakon čega stavlja na sebe zaštitno odijelo i odlazi među pčele koje je svejedno uspijevaju ubosti, dok je njezin muž prolazio bez uboda. Upravo zbog uboda, simboličnih podsjetnika na tugu i bol, a i zato što med ne kuri dobro, Fahrije odlučuje promijeniti posao i pokrenuti biznis sa kuhanjem i prodavanjem domaćeg ajvara za lokalno tržište zajedno s još nekim ženama iz sela, potencijalnim udovicama poput nje.

Jer, "djeca rastu, moram razmišljati dugoročno" i "ljudi vole domaću hranu, dobro se prodaje". Međutim, selo je krajnje zatucana, patrijarhalna sredina u kojoj žena, kako veli Fahrijin svekar Haxi (Çun Lajçi), "mora biti svjesna svog položaja u svojoj familiji" i "štogod napravi, utječe na obitelj", a on završava rečenice s "rekao sam svoje".

Sačuvaj Bože da žena radi nešto sama izvan kuće ili položi vozački ispit kao Fahrije koju cijelo selo trača i o njoj govore kako bi je se muž sramio da je živ. Jednodimenzionalni muški mještani je verbalno pa i fizički ubadaju gore od pčela da joj ni zaštitno odijelo ne bi pomoglo.

Jedan od njih će baciti kamen u prozor njezina automobila, drugi, potencijalni poslovni partner, pokušat će je seksualno napastvovati. Srećom, Fahrije je pčela matica i ustrajat će u borbi protiv okoline, predrasuda i nepravde jer, kako jedna žena opaža, "da smo mi nestale, muževi bi se oženili za mjesec dana".

"Hive" je najuspjeliji kao drama o ženskoj ustrajnosti, osnaženju i neovisnosti, razbijanju tradicije i emancipaciji zajednice žena. Uz trendovsku festivalsku režiju (kamera snima junakinju s leđa) i obligatorna globalna "MeToo" nastojanja, koja su rezonirala na Sundanceu, redateljica pronalazi tračke lokalne boje i iskrenosti u malim činovima Fahrijine pobune, uglavnom suptilno naoštravajući emotivne žalce njezine priče.

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Jedna godina, dva trostruka pobjednika

Prošle godine na Sundanceu, u američkoj dramskoj sekciji Sundancea, tri glavne nagrade odnijela je "CODA" koja nedavno trijumfirala na dodjeli Oscara.

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Nijedan film u povijesti prestižnog američkog Sundance festivala nije osvojio tri glavne nagrade u međunarodnom "world cinema" igranom programu. Ta čast je prošle godine pripala kosovskoj "Košnici" ("Hive"), prvijencu redateljice Blerte Basholli snimljenom prema istinitoj priči.

Osvojivši nagradu žirija i publike za najbolji film, kao i priznanje za režiju, "Košnica" je ostvarila kosovski, regionalni i globalni uspjeh za povijest. Trostruki laureat Sundancea ušao je i na tzv. oskarovski "shortlist", tj. bio u užoj selekciji za Oscara, dakle jako blizu da upadne među finalnih pet nominenata te osvoji i nominaciju za zlatni kipić u kategoriji međunarodnog filma.

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FILM: Hive; drama; Kosovo, 2021. REŽIJA: Blerta Basholli ULOGE: Yllka Gashi, Çun Lajçi DISTRIBUCIJA: Kino Mediteran OCJENA: ***

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Ipak, na kraju se "Hive" nije natjecao za Oscara, iako je sve upućivalo da bi mogao. Sličan put od Sundancea do Oscara godinu dana ranije je prošao i sjevernomakedonski dokumentarac "Medena zemlja" ili "Honeyland", s kojim kosovski film ima nekih poveznica.

Zbog Oscara se protegnuo i početak hrvatske kinodistribucije "Košnice", premijerno prikazane jesenas na Zagreb Film Festivalu. No, kad se "Hive" početkom ožujka zavrtio na otvorenju programa Kino Magistrala, projekta koji "duž Jadranske magistrale povezuje hrvatska nezavisna kina s ciljem da se publika nakon pandemijske krize u njih vrati", bilo je pitanje dana kad će film krenuti u redovnu distribuciju.

Mjesec i pol kasnije, "Košnica" je počela igrati u neovisnim hrvatskim kinima, poput splitske "Kinoteke". Ponešto precijenjen (puno zuji, malo ajvara daje) i politički iskalkuliran (odjeci rata/ženska emancipacija), ali solidan, ovaj festivalski film potvrđuje "novi val" kosovske kinematografije/kosovskih filmaša ("Tražeći Veneru" Norike Sefe, "Egzil" Visara Morine; oba osobno superiorniji) i ima potencijala doprijeti do publike koja je fino punila nezavisna domaća kina na "Medenu zemlju" i "Paralelne majke".

Kao u "Honeyland", pratimo jednu stoičku balkansku ženu koja se (isprve) bavi pčelarstvom. Kao u "Parallel Mothers", protagonistica nosi teret ratne prošlosti/traume. Ona, Fahrije u dojmljivom tumačenju istovremeno fragilne i snažne Yllke Gashi, nastavlja uzgajati pčele (med je glavni izvor prihoda obitelji), što je bio posao njezina muža, nestalog i vjerojatno stradalog tijekom rata na Kosovu krajem devedesetih.

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Fahrije, majku dvoje djece, upoznajemo kako traži i ne pronalazi supruga među beživotnim tijelima, nakon čega stavlja na sebe zaštitno odijelo i odlazi među pčele koje je svejedno uspijevaju ubosti, dok je njezin muž prolazio bez uboda. Upravo zbog uboda, simboličnih podsjetnika na tugu i bol, a i zato što med ne kuri dobro, Fahrije odlučuje promijeniti posao i pokrenuti biznis sa kuhanjem i prodavanjem domaćeg ajvara za lokalno tržište zajedno s još nekim ženama iz sela, potencijalnim udovicama poput nje.

Jer, "djeca rastu, moram razmišljati dugoročno" i "ljudi vole domaću hranu, dobro se prodaje". Međutim, selo je krajnje zatucana, patrijarhalna sredina u kojoj žena, kako veli Fahrijin svekar Haxi (Çun Lajçi), "mora biti svjesna svog položaja u svojoj familiji" i "štogod napravi, utječe na obitelj", a on završava rečenice s "rekao sam svoje".

Sačuvaj Bože da žena radi nešto sama izvan kuće ili položi vozački ispit kao Fahrije koju cijelo selo trača i o njoj govore kako bi je se muž sramio da je živ. Jednodimenzionalni muški mještani je verbalno pa i fizički ubadaju gore od pčela da joj ni zaštitno odijelo ne bi pomoglo.

Jedan od njih će baciti kamen u prozor njezina automobila, drugi, potencijalni poslovni partner, pokušat će je seksualno napastvovati. Srećom, Fahrije je pčela matica i ustrajat će u borbi protiv okoline, predrasuda i nepravde jer, kako jedna žena opaža, "da smo mi nestale, muževi bi se oženili za mjesec dana".

"Hive" je najuspjeliji kao drama o ženskoj ustrajnosti, osnaženju i neovisnosti, razbijanju tradicije i emancipaciji zajednice žena. Uz trendovsku festivalsku režiju (kamera snima junakinju s leđa) i obligatorna globalna "MeToo" nastojanja, koja su rezonirala na Sundanceu, redateljica pronalazi tračke lokalne boje i iskrenosti u malim činovima Fahrijine pobune, uglavnom suptilno naoštravajući emotivne žalce njezine priče.

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Jedna godina, dva trostruka pobjednika

Prošle godine na Sundanceu, u američkoj dramskoj sekciji Sundancea, tri glavne nagrade odnijela je "CODA" koja nedavno trijumfirala na dodjeli Oscara.

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StoryEditorOCM
Film & TVCINEMARK U KINU

‘Košnica‘: Puno zuji i malo ajvara daje

21. travnja 2022. - 20:42

Nijedan film u povijesti prestižnog američkog Sundance festivala nije osvojio tri glavne nagrade u međunarodnom "world cinema" igranom programu. Ta čast je prošle godine pripala kosovskoj "Košnici" ("Hive"), prvijencu redateljice Blerte Basholli snimljenom prema istinitoj priči.

Osvojivši nagradu žirija i publike za najbolji film, kao i priznanje za režiju, "Košnica" je ostvarila kosovski, regionalni i globalni uspjeh za povijest. Trostruki laureat Sundancea ušao je i na tzv. oskarovski "shortlist", tj. bio u užoj selekciji za Oscara, dakle jako blizu da upadne među finalnih pet nominenata te osvoji i nominaciju za zlatni kipić u kategoriji međunarodnog filma.

Ipak, na kraju se "Hive" nije natjecao za Oscara, iako je sve upućivalo da bi mogao. Sličan put od Sundancea do...

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13. svibanj 2024 02:29