SD Dojavi
OSMRTNICE
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Voajerizam je zavučen duboko u Amazonove "Voajere" ("The Voyeurs") i seže sve do "Prozora u dvorište" i metafilmskih trilera inspiriranih Hitchcockovim klasikom, od "Uvećanja" i "Pucanj nije brisan", preko "Paranoje" i "Djevojke u vlaku", do nedavne "Žene na prozoru".

Mladi par, optometristica Pippa i glazbenik Thomas (Sydney Sweeney, Justice Smith), budi voajerske sklonosti u sebi kad se useli u novi stan s "prozorima u svijet" i počinje špijunirati (seksualni) život susjeda u neboderu preko puta, Seba i Julije (Ben Hardy, Natasha Liu Bordizzo).

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FILM: The Voyeurs; erotski triler; SAD, 2021. REŽIJA: Michael Mohan ULOGE: Sydney Sweeney, Justice Smith OCJENA: *** ½

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"Pogledaj ovo dvoje", kažu Pippa i Thomas jedno drugom i zagledaju se u Seba i Juliju odmah prve noći u novom stanu, možda i zbog – ironično – nedostatka dobrog (streaming) sadržaja na televiziji čiji ekran može podsjetiti na stakleni prozor preko puta. Špijuniranje pravdaju time da samo gledaju kroz prozor, tj. da su oni u njihovom "vidnom polju" i "žele da gledamo" jer "znaju da možemo vidjeti unutra".

Isprve Pippa i Thomas gledaju susjede golim očima, da bi potom, kad voajerstvo preraste u opsjednutost, uzeli i dalekozor, baš kao radoznali James Stewart kod Hitchcocka i Amy Adams u "The Woman In The Window". Kako je referencija na "Rear Window" očita, redatelj Michael Mohan neće stopirati kadar Hitchcockova filma na TV-u protagonista kao Joe Wright u "Ženi na prozoru", ali pažljivije oči opazit će zato plakat za "Blow-Up" u susjednom stanu.

To ima smisla budući da je Seb fotograf, k tome tip koji u odsustvu Julije, snima druge razgolićene žene i završi s njima u krevetu nakon ili tijekom "photosessiona". Sebova naizgledna nevjera, a ne ubojstvo nekoga, pokreće zaplet filma i potiče opsesiju kod Pippe koja je od početnog "samo ću baciti oko" na susjede dolazi do faze da više ne može odvratiti pogled.

A kad Pippa odluči da mora upozoriti Juliju na Seba, to će se pokazati kao krupna greška. "Voajeri" nisu bezočna kopija slavnog uzora, već film koji otvara "Prozor u dvorište" s pogledom na erotsko-trilerske devedesete i svijet današnjice, od invazije na privatnost do opsjednutosti tuđom intimnosti uživo ili, još više, "online".

"The Voyeurs" je najsvježiji od recentnog "comebacka" (erotskih) trilera devedesetih ("Fatale", "The Woman In The Window"), pa i najdrskiji među njima u odnosu na izvornike kojima odaju posvetu. Sve da je Stewart mogao špijunirati seks nekog para preko puta u "Rear Window", teško da bi se Grace Kelly smjela uzbuditi i posegnuti za njegovim ili svojim gaćicama, kao što to radi sve popularnija i bolja Sweeney ("Euforija", "Bilo jednom u... Hollywoodu", "Bijeli lotos").

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Hitchcock je takvo što vjerojatno maštao, a Mohan pretvorio u stvarnost. "Kinky" provokacije ovdje ne nedostaje, pa i (autoironične) subverzije u pogledu psihoseksualnog, voajerskog i moralnog ("samo zato što možeš gledati u njihove živote, ne znači da je u redu gledati"), kako prema likovima, tako i gledateljima, naravno uz veće ili manje metaforičke suptilnosti, tj. više ili manje izražene žanrovske makinacije.

Dakle, ne samo da je Pippa optometristica, već će Julia, "casablancovski", od svih očnih klinika svratiti baš u njezinu na pregled očiju koji Mohan režira kao predigru za (lezbijski) seks s putenim krupnim planovima glumica dok se nalaze svaka sa svoje strane aparature.

Mohan zatim radi "rez" s krupnog plana oka na – jaje na oko, što je ponavljajući kadar zavodljiva filma, a ključna pjesma na soundtracku jest obrada "Eyes Without a Face" Billyja Idola. Oči su sve u trileru koji gleda i želi da ga se gleda, makar kao "grešno zadovoljstvo", čak i ako vam, u zadnjem činu, dođe da zakolutate očima na neke neuvjerljivosti ili prekrijete lice dlanom.

Pippa je, metafilmski, supstitut za gledatelja, spremnog na gledanje filma i "filma" u prvom redu kina dok ne oslijepi ili ne bude uhvaćen, kao kad mu upravo ona uhvati voajerski pogled u uvodnoj sceni dok isprobava haljinu s dubokim dekolteom u svlačionici i povuče zastor.

Interesantno je da kasnije, nakon što i sama postane voajer, Pippa neće napraviti nešto slično i zatvoriti gledatelju odškrinuta vrata ispred nosa kad se razodijeva za kupanje. Motiv gledanja je dvosmjeran: likovi gledaju jedni druge, mi njih, a i oni nas. "Prozor u dvorište" je otvoren.

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Vampirski zubi Sydney Sweeney

Sydney Sweeney ćemo uskoro gledati i u Netflixovom vampirskom filmu "Night Teeth" u kojem glumi vampiricu zajedno s Megan Fox.

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Voajerizam je zavučen duboko u Amazonove "Voajere" ("The Voyeurs") i seže sve do "Prozora u dvorište" i metafilmskih trilera inspiriranih Hitchcockovim klasikom, od "Uvećanja" i "Pucanj nije brisan", preko "Paranoje" i "Djevojke u vlaku", do nedavne "Žene na prozoru".

Mladi par, optometristica Pippa i glazbenik Thomas (Sydney Sweeney, Justice Smith), budi voajerske sklonosti u sebi kad se useli u novi stan s "prozorima u svijet" i počinje špijunirati (seksualni) život susjeda u neboderu preko puta, Seba i Julije (Ben Hardy, Natasha Liu Bordizzo).

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FILM: The Voyeurs; erotski triler; SAD, 2021. REŽIJA: Michael Mohan ULOGE: Sydney Sweeney, Justice Smith OCJENA: *** ½

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"Pogledaj ovo dvoje", kažu Pippa i Thomas jedno drugom i zagledaju se u Seba i Juliju odmah prve noći u novom stanu, možda i zbog – ironično – nedostatka dobrog (streaming) sadržaja na televiziji čiji ekran može podsjetiti na stakleni prozor preko puta. Špijuniranje pravdaju time da samo gledaju kroz prozor, tj. da su oni u njihovom "vidnom polju" i "žele da gledamo" jer "znaju da možemo vidjeti unutra".

Isprve Pippa i Thomas gledaju susjede golim očima, da bi potom, kad voajerstvo preraste u opsjednutost, uzeli i dalekozor, baš kao radoznali James Stewart kod Hitchcocka i Amy Adams u "The Woman In The Window". Kako je referencija na "Rear Window" očita, redatelj Michael Mohan neće stopirati kadar Hitchcockova filma na TV-u protagonista kao Joe Wright u "Ženi na prozoru", ali pažljivije oči opazit će zato plakat za "Blow-Up" u susjednom stanu.

To ima smisla budući da je Seb fotograf, k tome tip koji u odsustvu Julije, snima druge razgolićene žene i završi s njima u krevetu nakon ili tijekom "photosessiona". Sebova naizgledna nevjera, a ne ubojstvo nekoga, pokreće zaplet filma i potiče opsesiju kod Pippe koja je od početnog "samo ću baciti oko" na susjede dolazi do faze da više ne može odvratiti pogled.

A kad Pippa odluči da mora upozoriti Juliju na Seba, to će se pokazati kao krupna greška. "Voajeri" nisu bezočna kopija slavnog uzora, već film koji otvara "Prozor u dvorište" s pogledom na erotsko-trilerske devedesete i svijet današnjice, od invazije na privatnost do opsjednutosti tuđom intimnosti uživo ili, još više, "online".

"The Voyeurs" je najsvježiji od recentnog "comebacka" (erotskih) trilera devedesetih ("Fatale", "The Woman In The Window"), pa i najdrskiji među njima u odnosu na izvornike kojima odaju posvetu. Sve da je Stewart mogao špijunirati seks nekog para preko puta u "Rear Window", teško da bi se Grace Kelly smjela uzbuditi i posegnuti za njegovim ili svojim gaćicama, kao što to radi sve popularnija i bolja Sweeney ("Euforija", "Bilo jednom u... Hollywoodu", "Bijeli lotos").

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Hitchcock je takvo što vjerojatno maštao, a Mohan pretvorio u stvarnost. "Kinky" provokacije ovdje ne nedostaje, pa i (autoironične) subverzije u pogledu psihoseksualnog, voajerskog i moralnog ("samo zato što možeš gledati u njihove živote, ne znači da je u redu gledati"), kako prema likovima, tako i gledateljima, naravno uz veće ili manje metaforičke suptilnosti, tj. više ili manje izražene žanrovske makinacije.

Dakle, ne samo da je Pippa optometristica, već će Julia, "casablancovski", od svih očnih klinika svratiti baš u njezinu na pregled očiju koji Mohan režira kao predigru za (lezbijski) seks s putenim krupnim planovima glumica dok se nalaze svaka sa svoje strane aparature.

Mohan zatim radi "rez" s krupnog plana oka na – jaje na oko, što je ponavljajući kadar zavodljiva filma, a ključna pjesma na soundtracku jest obrada "Eyes Without a Face" Billyja Idola. Oči su sve u trileru koji gleda i želi da ga se gleda, makar kao "grešno zadovoljstvo", čak i ako vam, u zadnjem činu, dođe da zakolutate očima na neke neuvjerljivosti ili prekrijete lice dlanom.

Pippa je, metafilmski, supstitut za gledatelja, spremnog na gledanje filma i "filma" u prvom redu kina dok ne oslijepi ili ne bude uhvaćen, kao kad mu upravo ona uhvati voajerski pogled u uvodnoj sceni dok isprobava haljinu s dubokim dekolteom u svlačionici i povuče zastor.

Interesantno je da kasnije, nakon što i sama postane voajer, Pippa neće napraviti nešto slično i zatvoriti gledatelju odškrinuta vrata ispred nosa kad se razodijeva za kupanje. Motiv gledanja je dvosmjeran: likovi gledaju jedni druge, mi njih, a i oni nas. "Prozor u dvorište" je otvoren.

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Vampirski zubi Sydney Sweeney

Sydney Sweeney ćemo uskoro gledati i u Netflixovom vampirskom filmu "Night Teeth" u kojem glumi vampiricu zajedno s Megan Fox.

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StoryEditorOCM
Film & TVCINEMARK U KUĆNOM KINU

‘Voajeri‘: Žena na prozoru u dvorište

Piše Marko Njegić
2. listopada 2021. - 15:12
19477304
PREMIUM
Galerija

Voajerizam je zavučen duboko u Amazonove "Voajere" ("The Voyeurs") i seže sve do "Prozora u dvorište" i metafilmskih trilera inspiriranih Hitchcockovim klasikom, od "Uvećanja" i "Pucanj nije brisan", preko "Paranoje" i "Djevojke u vlaku", do nedavne "Žene na prozoru".

Mladi par, optometristica Pippa i glazbenik Thomas (Sydney Sweeney, Justice Smith), budi voajerske sklonosti u sebi kad se useli u novi stan s "prozorima u svijet" i počinje špijunirati (seksualni) život susjeda u neboderu preko puta, Seba i Julije (Ben Hardy, Natasha Liu Bordizzo).

"Pogledaj ovo dvoje", kažu Pippa i Thomas jedno drugom i zagledaju se u Seba i Juliju odmah prve noći u novom stanu, možda i zbog – ironično – nedostatka dobrog (streaming) sadržaja na televiziji čiji ekran može podsjetiti na...

#CINEMARK#CINEMARK U KUĆNOM KINU#EROTSKI TRILERI#AMAZON FILMOVI#SYDNEY SWEENEY#JUSTICE SMITH#TRILERI#NATASHA LIU BORDIZZO#BEN HARDY#MICHAEL MOHAN
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