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Senzacija u vezi novog mikrobudžetiranog horora "Skinamarink" odjeknula je snažno u svijetu filma. Kanađanin Kyle Edward Ball snimio je svoj prvijenac za ukupno 15 tisuća dolara, a samo je u američkim kinima dosad zaradio nešto manje od dva milijuna, dakle 129 puta više nego što je koštao.

Zarada bi bila sigurno veća (ako već ne blockbusterska kao u slučaju slično budžetiranih/koncipiranih horora "The Blair Witch Project" i "Paranormal Activity") da "Skinamarink" nije procurio na internet zbog "glitcha" na jednoj od festivalskih "online" projekcija, od čega spomenuti filmovi nisu trebali strahovati.

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FILM: Sinamarink; horor; Kanada, 2022. REŽIJA: Kyle Edward Ball ULOGE: Lucas Paul, Dali Rose Tetreault OCJENA: *** ½

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No, opet, na društvenim mrežama se glas o "Skinamarinku" proširio poput požara, a "curenje" nije spriječilo distribuciju filma u londonskom "Prince Charles Cinema", gdje je zaintrigirao posjetitelje koji dolaze u kino i na najranije projekcije preko tjedna (12.30 sati, utorak).

Intriga je satkana već u kratkom sinopsisu: "Dvoje djece probudi se usred noći i otkriju da im je otac nestao, kao i svi prozori i vrata na njihovoj kući". Sinopsis je kao stvoren za projiciranje dječjeg straha od (redom) mraka, nepoznatog, napuštanja i samoće, a Ball upravo na tome temelji horor kad mali Kevin i nešto starija Kaylee (Lucas Paul, Dali Rose Tetreault) ostanu sami u kući usred noći.

"Skinamarink" evocira svačiju noćnu moru iz djetinjstva da se probudite u gluho doba noći, šetate po mraku tražeći roditelje dok do vas dopire samo svjetlo upaljene televizije iz dnevnog boravka kao u "Krugu" i polako shvaćate da nikog nema u kući, ali možda ima nekog čudovišta/babaroge ispod kreveta i kauča ili se to samo tama i mašta poigravaju s vama i ubacuju jezive sugestije u vaš um. Nije to samo noćna mora iz djetinjstva, nego i odrasle dobi.

Vjerojatno nema čovjeka koji se nije probudio u sitne sate i osjetio neku apstraktnu, neobjašnjivu jezu i nelagodu, potaknutu time da je, možda, od hrpe odjeće na stolici, kaputa ostavljenog s vanjske strane ormara ili tamnih pločica na zidu zamislio nekoga ili nešto. Na taj univerzalni osjećaj straha u vlastitoj kući i tipuje Ball, a potencira ga "found footage" estetikom nečijeg strašljivog kućnog videa, pronađene videovrpce koju gledate, iako možda to ne biste smjeli.

"Found footage" estetiku Ball primiče radikalnom eksperimentalnom "art-house" filmu i "Skinamarink" bi se bez problema mogao naći u programu ovogodišnjeg STFF-a (tim više pošto u hrvatska kina vjerojatno neće doći), a uklapa se i u pravila danskog pokreta Dogma 95, ako ne računamo to što je – uvjetno rečeno – žanrovski film.

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Pritom, Ball je u redateljskoj egzekuciji čak i radikalniji od "dogmaških" ostvarenja, kamoli hororskih "found footage" filmova kao što su drugi, treći i četvrti dio serijala "Paranormalno", nova "Vještica iz Blaira", "Cloverfield", "Posljednji egzorcizam", "Karantena", "Sotona: Razotkrivanje", "Kronike", "U mraku katakombe", "Gost"...

Ball je cijeli film lokacijski sveo na jednu kuću, nije angažirao profesionalne glumce za par uloga, niti nekoga da mu sklada filmsku glazbu; čujemo samo zvukove s TV-a i nešto sitno dijaloga ("Ne mogu zaspati s upaljenim svjetlom") koji se odvijaju izvan kadra i nerijetko su nerazgovjetni.

Izvan kadra se većinski nalaze i likovi kojima mahom ne vidimo lice, osim u jednoj "bu" sceni distorziranog, povišenog zvuka, već samo noge kako koračaju po sobi ili ih gledamo s leđa dok sjede na krevetu u prijetećem mraku sobe. Najvećim dijelom film ostavlja dojam kao da je snimljen na kućnoj videokameri, često ostavljenoj na podu da snima zbivanja, te potom prebačen na VHS koji se gledao dok se vrpca nije izlizala.

Sve to – uz zrnatu, ispucanu sliku i odsustvo standardnog osvjetljenja – pogoduje stvaranju nadrealne mračne hororske atmosfere s obzirom na to da loš snimak potencira stvaranje košmarnih obrisa nekoga ili nečega u tami koje možda gledatelj sam crta u svojoj glavi.

Povremeno "Skinamarink" zna biti repetitivan, monoton, pa i dosadan (bio bi bolji/kompaktniji da traje 80-ak umjesto 100 minuta), ali je intrigantno para(ne)normalan i apstraktan kao nekakva eksperimentalna "found footage" verzija "Poltergeista", snimljena na granici sna, snomorice i jave.

Naopaki kadrovi krajnje su zlokobni, kao i glas demona ("Kaylee nije učinila što joj je rečeno, zato sam joj oduzeo usta") i pogled na rasute "legiće" na podu ili na auto-telefon igračku dvojbena osmijeha. No, najveća jeza dolazi u trenutku kad se kamera zagleda u naizgled beskrajno crnilo i ništavilo koje izgleda da bi moglo "oživjeti" kao u "Kući noćnih mora". Neki bi mogli teško zaspati s ugašenim svjetlom nakon gledanja "Skinamarinka".

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Dječja pjesmica kao inspiracija naslov filma

Film je dobio naslov po stotinjak godina staroj pjesmici za predškolsku djecu, izvornog naslova "Skid-dy-mer-rink-adink-aboomp" ili "Skiddy-Mer-Rink-A-Doo", koju je u Kanadi popularizirao dječji bend Sharon, Lois & Bram.

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Senzacija u vezi novog mikrobudžetiranog horora "Skinamarink" odjeknula je snažno u svijetu filma. Kanađanin Kyle Edward Ball snimio je svoj prvijenac za ukupno 15 tisuća dolara, a samo je u američkim kinima dosad zaradio nešto manje od dva milijuna, dakle 129 puta više nego što je koštao.

Zarada bi bila sigurno veća (ako već ne blockbusterska kao u slučaju slično budžetiranih/koncipiranih horora "The Blair Witch Project" i "Paranormal Activity") da "Skinamarink" nije procurio na internet zbog "glitcha" na jednoj od festivalskih "online" projekcija, od čega spomenuti filmovi nisu trebali strahovati.

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FILM: Sinamarink; horor; Kanada, 2022. REŽIJA: Kyle Edward Ball ULOGE: Lucas Paul, Dali Rose Tetreault OCJENA: *** ½

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No, opet, na društvenim mrežama se glas o "Skinamarinku" proširio poput požara, a "curenje" nije spriječilo distribuciju filma u londonskom "Prince Charles Cinema", gdje je zaintrigirao posjetitelje koji dolaze u kino i na najranije projekcije preko tjedna (12.30 sati, utorak).

Intriga je satkana već u kratkom sinopsisu: "Dvoje djece probudi se usred noći i otkriju da im je otac nestao, kao i svi prozori i vrata na njihovoj kući". Sinopsis je kao stvoren za projiciranje dječjeg straha od (redom) mraka, nepoznatog, napuštanja i samoće, a Ball upravo na tome temelji horor kad mali Kevin i nešto starija Kaylee (Lucas Paul, Dali Rose Tetreault) ostanu sami u kući usred noći.

"Skinamarink" evocira svačiju noćnu moru iz djetinjstva da se probudite u gluho doba noći, šetate po mraku tražeći roditelje dok do vas dopire samo svjetlo upaljene televizije iz dnevnog boravka kao u "Krugu" i polako shvaćate da nikog nema u kući, ali možda ima nekog čudovišta/babaroge ispod kreveta i kauča ili se to samo tama i mašta poigravaju s vama i ubacuju jezive sugestije u vaš um. Nije to samo noćna mora iz djetinjstva, nego i odrasle dobi.

Vjerojatno nema čovjeka koji se nije probudio u sitne sate i osjetio neku apstraktnu, neobjašnjivu jezu i nelagodu, potaknutu time da je, možda, od hrpe odjeće na stolici, kaputa ostavljenog s vanjske strane ormara ili tamnih pločica na zidu zamislio nekoga ili nešto. Na taj univerzalni osjećaj straha u vlastitoj kući i tipuje Ball, a potencira ga "found footage" estetikom nečijeg strašljivog kućnog videa, pronađene videovrpce koju gledate, iako možda to ne biste smjeli.

"Found footage" estetiku Ball primiče radikalnom eksperimentalnom "art-house" filmu i "Skinamarink" bi se bez problema mogao naći u programu ovogodišnjeg STFF-a (tim više pošto u hrvatska kina vjerojatno neće doći), a uklapa se i u pravila danskog pokreta Dogma 95, ako ne računamo to što je – uvjetno rečeno – žanrovski film.

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Pritom, Ball je u redateljskoj egzekuciji čak i radikalniji od "dogmaških" ostvarenja, kamoli hororskih "found footage" filmova kao što su drugi, treći i četvrti dio serijala "Paranormalno", nova "Vještica iz Blaira", "Cloverfield", "Posljednji egzorcizam", "Karantena", "Sotona: Razotkrivanje", "Kronike", "U mraku katakombe", "Gost"...

Ball je cijeli film lokacijski sveo na jednu kuću, nije angažirao profesionalne glumce za par uloga, niti nekoga da mu sklada filmsku glazbu; čujemo samo zvukove s TV-a i nešto sitno dijaloga ("Ne mogu zaspati s upaljenim svjetlom") koji se odvijaju izvan kadra i nerijetko su nerazgovjetni.

Izvan kadra se većinski nalaze i likovi kojima mahom ne vidimo lice, osim u jednoj "bu" sceni distorziranog, povišenog zvuka, već samo noge kako koračaju po sobi ili ih gledamo s leđa dok sjede na krevetu u prijetećem mraku sobe. Najvećim dijelom film ostavlja dojam kao da je snimljen na kućnoj videokameri, često ostavljenoj na podu da snima zbivanja, te potom prebačen na VHS koji se gledao dok se vrpca nije izlizala.

Sve to – uz zrnatu, ispucanu sliku i odsustvo standardnog osvjetljenja – pogoduje stvaranju nadrealne mračne hororske atmosfere s obzirom na to da loš snimak potencira stvaranje košmarnih obrisa nekoga ili nečega u tami koje možda gledatelj sam crta u svojoj glavi.

Povremeno "Skinamarink" zna biti repetitivan, monoton, pa i dosadan (bio bi bolji/kompaktniji da traje 80-ak umjesto 100 minuta), ali je intrigantno para(ne)normalan i apstraktan kao nekakva eksperimentalna "found footage" verzija "Poltergeista", snimljena na granici sna, snomorice i jave.

Naopaki kadrovi krajnje su zlokobni, kao i glas demona ("Kaylee nije učinila što joj je rečeno, zato sam joj oduzeo usta") i pogled na rasute "legiće" na podu ili na auto-telefon igračku dvojbena osmijeha. No, najveća jeza dolazi u trenutku kad se kamera zagleda u naizgled beskrajno crnilo i ništavilo koje izgleda da bi moglo "oživjeti" kao u "Kući noćnih mora". Neki bi mogli teško zaspati s ugašenim svjetlom nakon gledanja "Skinamarinka".

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Dječja pjesmica kao inspiracija naslov filma

Film je dobio naslov po stotinjak godina staroj pjesmici za predškolsku djecu, izvornog naslova "Skid-dy-mer-rink-adink-aboomp" ili "Skiddy-Mer-Rink-A-Doo", koju je u Kanadi popularizirao dječji bend Sharon, Lois & Bram.

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StoryEditorOCM
Film & TVCINEMARK U KINU

‘Skinamarink‘: Mrak od straha

Piše Marko Njegić
8. veljače 2023. - 23:38
24263970
PREMIUM
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Senzacija u vezi novog mikrobudžetiranog horora "Skinamarink" odjeknula je snažno u svijetu filma. Kanađanin Kyle Edward Ball snimio je svoj prvijenac za ukupno 15 tisuća dolara, a samo je u američkim kinima dosad zaradio nešto manje od dva milijuna, dakle 129 puta više nego što je koštao.

Zarada bi bila sigurno veća (ako već ne blockbusterska kao u slučaju slično budžetiranih/koncipiranih horora "The Blair Witch Project" i "Paranormal Activity") da "Skinamarink" nije procurio na internet zbog "glitcha" na jednoj od festivalskih "online" projekcija, od čega spomenuti filmovi nisu trebali strahovati.

No, opet, na društvenim mrežama se glas o "Skinamarinku" proširio poput požara, a "curenje" nije spriječilo distribuciju filma u londonskom "Prince Charles Cinema", gdje je zain...

#CINEMARK#CINEMARK U KINU #HORORI#PRINCE CHARLES CINEMA#SKINAMARINK#KYLE EDWARD BALL
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