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Ispod prošlogodišnje recenzije art drame "Suvenir 2. dio", u tzv. okviru, stajala je kratka informacija da britanska redateljica Joanna Hogg priprema hororsku priču o duhovima. Godinu dana kasnije, taj film je nakon višemjesečne festivalske i limitirane kinodistribucije po svijetu premijerno u Hrvatskoj osvanuo na streaming servisu HBO Max – "Vječna kći" ("Eternal Daughter").

Ispada kako nije suđeno da hrvatski filmofili vide ijedan film s potpisom jedne od vodećih art redateljica današnjice na velikom ekranu, s obzirom na to da su "Souvenir" i njegov nastavak imali premijeru u "A1" videoteci. Šteta da Hogg prolazi ispod radara domaćih festivala i neovisnih kina za koje su "Suverniri" i "Vječna kći" stvoreni.

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FILM: The Eternal Daughter; drama; Velika Britanija/Irska/SAD, 2022. REŽIJA: Joanna Hogg ULOGE: Tilda Swinton, Carly-Sophia Davies OCJENA: ****

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Njezini filmovi nisu za multiplekse zbog artističke kakvoće i intimističke atmosfere kakva je napose naglašena u "Eternal Daughter". U "hororskoj priči o duhovima" naglasak nije na hororu, već na misterioznoj psihološkoj drami, iako "Vječna kći" koketira s nadrealnim filmovima strave iz podžanra "ghost story" i "haunted house", od "Isijavanja" do "Uljeza", a primjetan je i utjecaj "Vrtoglavice"; Hogg preuzima snoliko zeleno osvjetljenje iz glasovite scene s dualnom Kim Novak.

Priča prati sredovječnu filmašicu Julie i njezinu staru majku Rosalind (oskarovka Tilda Swinton u dualnom "one woman show" izdanju) prilikom dolaska u hotel lociran na maglovitom imanju daleko od grada. Vozač koji ih dovozi na imanje priznaje da "izbjegava mjesto tijekom mračnih zimskih noći".

Na imanju nema žive duše osim njih dvije, recepcionarke (Carly-Sophia Davies) i čuvara (Joseph Mydell). Signal za mobitel je moguć samo na vrhu zgrade, repetitivan sveprožimajući zvuk čuje se svake noći iz jedne od soba koje "čuvaju priče", njihov pas grebe po vratima kao da osjeća nešto...

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Zašto su njih dvije došle na ovo imanje? Majka je tu provela ratno djetinjstvo tijekom njemačkog bombardiranja Velike Britanije. "Lijepo je biti ovdje, sjećam se stropa", majka proživljava proustovsko iskustvo prisjećanja. Ubrzo sjećanje postaje temeljni motiv za Hogg u "Eternal Daughter".

"To je bilo tad, mi smo tu sad, imam sve vrste uspomena ovdje", govori Rosalind dok Julie želi napisati film o majci i sebi, ali nikako da počne. Ako vam imena Julie i Rosalind zvuče poznato, to je zato što su se tako zvali likovi u duologiji "Souvenir 1&2". Zanimljivo, mladu Julie, redateljičin alter ego, glumila je Honor Swinton Byrne, a Rosalind njezina prava majka Tilda.

"Vječna kći" je nekakav nastavak "Suvenira" ili svakako film smješten u njihov svijet, opet nešto sasvim osobno i metafilmski za Hogg, možda i najosobnije i najmetafilmskije dosad. Dakle, Hogg je u "Eternal Daughter" napravila upravo ono što u priči radi Julie kao njezin supstitut – film o majci i sebi.

Britanska filmašica nanovo prelama život i umjetnost na način da se ne zna gdje počinje jedno i gdje završava drugo, otprilike kao što se ne zna gdje počinje majka i gdje završava kćerka, povezane i isprepletene sjećanjima. Sjećanja su misterij i pričaju priču o duhovima ovog filma.

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Tilda od Finchera do Oppenheimera

Tildu Swinton iduće gledamo u "Killeru" Davida Finchera, a zatim u fantaziji "The End" Joshue Oppenheimera.

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Ispod prošlogodišnje recenzije art drame "Suvenir 2. dio", u tzv. okviru, stajala je kratka informacija da britanska redateljica Joanna Hogg priprema hororsku priču o duhovima. Godinu dana kasnije, taj film je nakon višemjesečne festivalske i limitirane kinodistribucije po svijetu premijerno u Hrvatskoj osvanuo na streaming servisu HBO Max – "Vječna kći" ("Eternal Daughter").

Ispada kako nije suđeno da hrvatski filmofili vide ijedan film s potpisom jedne od vodećih art redateljica današnjice na velikom ekranu, s obzirom na to da su "Souvenir" i njegov nastavak imali premijeru u "A1" videoteci. Šteta da Hogg prolazi ispod radara domaćih festivala i neovisnih kina za koje su "Suverniri" i "Vječna kći" stvoreni.

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FILM: The Eternal Daughter; drama; Velika Britanija/Irska/SAD, 2022. REŽIJA: Joanna Hogg ULOGE: Tilda Swinton, Carly-Sophia Davies OCJENA: ****

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Njezini filmovi nisu za multiplekse zbog artističke kakvoće i intimističke atmosfere kakva je napose naglašena u "Eternal Daughter". U "hororskoj priči o duhovima" naglasak nije na hororu, već na misterioznoj psihološkoj drami, iako "Vječna kći" koketira s nadrealnim filmovima strave iz podžanra "ghost story" i "haunted house", od "Isijavanja" do "Uljeza", a primjetan je i utjecaj "Vrtoglavice"; Hogg preuzima snoliko zeleno osvjetljenje iz glasovite scene s dualnom Kim Novak.

Priča prati sredovječnu filmašicu Julie i njezinu staru majku Rosalind (oskarovka Tilda Swinton u dualnom "one woman show" izdanju) prilikom dolaska u hotel lociran na maglovitom imanju daleko od grada. Vozač koji ih dovozi na imanje priznaje da "izbjegava mjesto tijekom mračnih zimskih noći".

Na imanju nema žive duše osim njih dvije, recepcionarke (Carly-Sophia Davies) i čuvara (Joseph Mydell). Signal za mobitel je moguć samo na vrhu zgrade, repetitivan sveprožimajući zvuk čuje se svake noći iz jedne od soba koje "čuvaju priče", njihov pas grebe po vratima kao da osjeća nešto...

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Zašto su njih dvije došle na ovo imanje? Majka je tu provela ratno djetinjstvo tijekom njemačkog bombardiranja Velike Britanije. "Lijepo je biti ovdje, sjećam se stropa", majka proživljava proustovsko iskustvo prisjećanja. Ubrzo sjećanje postaje temeljni motiv za Hogg u "Eternal Daughter".

"To je bilo tad, mi smo tu sad, imam sve vrste uspomena ovdje", govori Rosalind dok Julie želi napisati film o majci i sebi, ali nikako da počne. Ako vam imena Julie i Rosalind zvuče poznato, to je zato što su se tako zvali likovi u duologiji "Souvenir 1&2". Zanimljivo, mladu Julie, redateljičin alter ego, glumila je Honor Swinton Byrne, a Rosalind njezina prava majka Tilda.

"Vječna kći" je nekakav nastavak "Suvenira" ili svakako film smješten u njihov svijet, opet nešto sasvim osobno i metafilmski za Hogg, možda i najosobnije i najmetafilmskije dosad. Dakle, Hogg je u "Eternal Daughter" napravila upravo ono što u priči radi Julie kao njezin supstitut – film o majci i sebi.

Britanska filmašica nanovo prelama život i umjetnost na način da se ne zna gdje počinje jedno i gdje završava drugo, otprilike kao što se ne zna gdje počinje majka i gdje završava kćerka, povezane i isprepletene sjećanjima. Sjećanja su misterij i pričaju priču o duhovima ovog filma.

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Tilda od Finchera do Oppenheimera

Tildu Swinton iduće gledamo u "Killeru" Davida Finchera, a zatim u fantaziji "The End" Joshue Oppenheimera.

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StoryEditorOCM
Film & TVCINEMARK NA STREAMU

‘Vječna kći‘: Memoarski suveniri majke i kćeri

Piše Marko Njegić
30. rujna 2023. - 12:08
25619440
Galerija

Ispod prošlogodišnje recenzije art drame "Suvenir 2. dio", u tzv. okviru, stajala je kratka informacija da britanska redateljica Joanna Hogg priprema hororsku priču o duhovima. Godinu dana kasnije, taj film je nakon višemjesečne festivalske i limitirane kinodistribucije po svijetu premijerno u Hrvatskoj osvanuo na streaming servisu HBO Max – "Vječna kći" ("Eternal Daughter").

Ispada kako nije suđeno da hrvatski filmofili vide ijedan film s potpisom jedne od vodećih art redateljica današnjice na velikom ekranu, s obzirom na to da su "Souvenir" i njegov nastavak imali premijeru u "A1" videoteci. Šteta da Hogg prolazi ispod radara domaćih festivala i neovisnih kina za koje su "Suverniri" i "Vječna kći" stvoreni.

FILM: The Eternal Daughter; drama; Velika Britanija/Irska/SAD, 2022. REŽIJA: Joanna Hogg ULOGE: Tilda Swinton, Carly-Sophia Davies OCJENA: ****

Njezini filmovi nisu za multiplekse zbog artističke kakvoće i intimističke atmosfere kakva je napose naglašena u "Eternal Daughter". U "hororskoj priči o duhovima" naglasak nije na hororu, već na misterioznoj psihološkoj drami, iako "Vječna kći" koketira s nadrealnim filmovima strave iz podžanra "ghost story" i "haunted house", od "Isijavanja" do "Uljeza", a primjetan je i utjecaj "Vrtoglavice"; Hogg preuzima snoliko zeleno osvjetljenje iz glasovite scene s dualnom Kim Novak.

Priča prati sredovječnu filmašicu Julie i njezinu staru majku Rosalind (oskarovka Tilda Swinton u dualnom "one woman show" izdanju) prilikom dolaska u hotel lociran na maglovitom imanju daleko od grada. Vozač koji ih dovozi na imanje priznaje da "izbjegava mjesto tijekom mračnih zimskih noći".

Na imanju nema žive duše osim njih dvije, recepcionarke (Carly-Sophia Davies) i čuvara (Joseph Mydell). Signal za mobitel je moguć samo na vrhu zgrade, repetitivan sveprožimajući zvuk čuje se svake noći iz jedne od soba koje "čuvaju priče", njihov pas grebe po vratima kao da osjeća nešto...

Zašto su njih dvije došle na ovo imanje? Majka je tu provela ratno djetinjstvo tijekom njemačkog bombardiranja Velike Britanije. "Lijepo je biti ovdje, sjećam se stropa", majka proživljava proustovsko iskustvo prisjećanja. Ubrzo sjećanje postaje temeljni motiv za Hogg u "Eternal Daughter".

"To je bilo tad, mi smo tu sad, imam sve vrste uspomena ovdje", govori Rosalind dok Julie želi napisati film o majci i sebi, ali nikako da počne. Ako vam imena Julie i Rosalind zvuče poznato, to je zato što su se tako zvali likovi u duologiji "Souvenir 1&2". Zanimljivo, mladu Julie, redateljičin alter ego, glumila je Honor Swinton Byrne, a Rosalind njezina prava majka Tilda.

"Vječna kći" je nekakav nastavak "Suvenira" ili svakako film smješten u njihov svijet, opet nešto sasvim osobno i metafilmski za Hogg, možda i najosobnije i najmetafilmskije dosad. Dakle, Hogg je u "Eternal Daughter" napravila upravo ono što u priči radi Julie kao njezin supstitut – film o majci i sebi.

Britanska filmašica nanovo prelama život i umjetnost na način da se ne zna gdje počinje jedno i gdje završava drugo, otprilike kao što se ne zna gdje počinje majka i gdje završava kćerka, povezane i isprepletene sjećanjima. Sjećanja su misterij i pričaju priču o duhovima ovog filma.

Tilda od Finchera do Oppenheimera

Tildu Swinton iduće gledamo u "Killeru" Davida Finchera, a zatim u fantaziji "The End" Joshue Oppenheimera.

#CINEMARK#CINEMARK U KUĆNOM KINU#HBO FILMOVI#VJEČNA KĆI#TILDA SWINTON#JOANNA HOGG#FESTIVALSKI FILMOVI#DRAME
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