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Pristup Cjelovitom Tekstu Rada Plakat za film Ljubav, 2015. A poster for the film Želim samo da Love, 2015 me (ne) volite (wbd) napisao written by I Just Want You Željko Luketić (Not) to Love Me portret portrait Rick Loomis, fotografije photography by Arhiva / Archive Canal+ (cp); Arhiva / Archive Les Cinémas de la Zone (cz); Los Angeles Times Arhiva / Archive Wild Bunch Distribution (wbd) autor ¶ In the 1930s, film audiences were frightened by Dracula’s and author Frankenstein’s, in the 1940s, Abbott and Costello used the pair to keep their audiences in stitches, whereas in the 1950s, there were giant tarantulas and the fear of nuclear war. Zombies were born a decade later, but the horror genre flourished anew in the freedom-loving 1970s. It is in this sequence that the Canadian documentary Why Horror? (2014), through a story about the social acceptability of a movie fan, tries to speak about what is at the same time the universal question of that part of film history: why we are afraid and why we like to be frightened even more. The aforementioned film offers a warm American story about how confronting our primordial and unconscious demons is precisely the way to counter those fears bravely and directly. What it lacks, however, is something that, in the art of filmmaking, has been maturing for a long time and in detail, something for which the origin of the horror genre is just the inspiration, and which manifests itself even more potently in Gaspar Noé 198 oris, broj 96, godina 2015. oris, number 96, year 2015 gaspar noé, Film gaspar noé, Film 199 Kadrovi iz filma Ulaz u prazninu, 2009. Stills from the film Enter the Void, 2009 (wbd) ¶ Tridesetih godina prošloga stoljeća filmsku su publiku plašili thrillers, dramas, melodramas, even pornography. It is, of Sintagma koja se možda najčešće A syntagm that is perhaps most fre- Dracule i Frankensteini, četrdesetih su ih upravo time nasmi- course, difficult for the authors of a documentary feature film javali Abbott i Costello, dok su pedesete popratile divovske to start dealing with theory and all the derivations of the motif, pojavljuje u recenzijama Noéovih quently found in critical reviews of tarantule i strah od atomskoga rata. Desetljeće kasnije rađaju but it was them who offered an in-many-ways interesting djela je napad na osjetila Noé’s films is assault on the senses se zombiji, dok se sloboda sedamdesetih odrazila i na procvat framework from which, at the beginning of the millennium, žanrovskih naslova strave i užasa. Upravo u ovome slijedu, derived the New French Extremity. ¶ The key title for that new kanadski dokumentarni film Why horror? (2014.) pokušao je school of film thought was Irréversible (2002) by Argentine- preko priče o socijalnoj prihvatljivosti jednog fana progovoriti French filmmaker Gaspar Noé. His recent film Love (2015) has o onome što je ujedno i vječno pitanje tog dijela filmske povi- come, in its uncensored form, to local cinemas. An artistic pro- jesti: zašto se plašimo i zašto, još više, volimo da nas plaše? vocateur, an agent of the pornographic underground, or a radi- došla i do ovdašnjih kina. Umjetnički provokator, agent por- this new cinema of the body, but if we include the term ordeal Spomenuti film ponudio je toplu američku priču o tome kako cal auteur? Perhaps all of the above, but he is definitely one of nografskog podzemlja ili radikalni auteur? Možda i sve od in this description, it also symbolizes discomfort, temptation, je suočavanje s našim primordijalnim i nesvjesnim demonima the authors owing to whom, in its current edition, the Oxford toga, ali svakako jedno od imena zbog kojih je Oxford Dicti- anguish and fear. The danger and the dark side of human exist- upravo onaj put da se tim strahovima hrabro i direktno kon- Dictionary of Film Studies has officially included the New onary of Film Studies u ovogodišnjem izdanju i službeno ence will certainly attract fans of the horror genre from the very trira. Međutim, ono što mu je nedostajalo jest nešto što je u French Extremity as its entry, adding to it an even more potent uvrstio New French Extremity u svoj pojmovnik, dodavši mu beginning of the story. His work, however, completely eludes filmskoj umjetnosti dozrijevalo dugo i detaljno, nešto čemu synonym: ordeal cinema. It is a trend with an increasing number još i potentniji sinonim ordeal cinema. Struja je to u kojoj se the dictates of the genre, even though he himself, as someone je žanrovsko ishodište horora tek inspiracija, a manifestiralo of male and female filmmakers, such as Catherine Breillat, Claire nalazi sve više filmaša i filmašica, poput Catherine Breillat, who grew up watching Kubrick’s films, King Kong and the se još potentnije u trilerima, dramama, melodramama, pa čak Denis, Olivier Assayas, Bruno Dumont, Damien Odoul and Claire Denis, Oliviera Assayasa, Bruna Dumonta, Damiena exploitation wonders of the 1970s and 1980s, acquired his pre- i pornografiji. Teško je naravno jednome dokumentarcu ući u Philippe Grandrieux, whereas its geographical scope widens to Odoula i Philippea Grandrieuxa, dok se geografski okvir širi i sent ideas precisely from these sources. ¶ A syntagm that is teorijske vode i sve derivacije motiva, no baš su one više- include the whole of Europe. The name Gaspar Noé is perhaps na područje cijele Europe. Gaspar Noé javnosti je najpoznatiji perhaps most frequently found in critical reviews of Noé’s films struko zanimljiv okvir iz kojega je početkom milenija nastao best known to the general public because of his willingness to moguće i zbog vlastite spremnosti da svoje metode rada is assault on the senses. The humiliation of audience is also novi francuski ekstremizam. ¶ Ključan naslov te nove škole openly share his methods and, in doing so, even further provoke javno podijeli i tako još više izazove zazor onih koji ovakav often used. The latter is probably the key to the success of this filmskoga mišljenja je Nepovratno (Irréversible, 2002.), aversion among those who consider such, as more accurately cinéma du corps, kako ga još točnije naziva teoretičar Tim filmmaking approach. Namely, the idea is to involve the audi- argentinsko-francuskoga redatelja Gaspara Noéa, čija je defined by the theorist Tim Palmer, cinéma du corps (cinema Palmer, smatraju vulgarnim i uvredljivim. Noé je lakmus-papir ence itself in the body of the film and to persuade them to recentna Ljubav (Love, 2015.) u svom necenzuriranom obliku of the body) to be vulgar and offensive. Noé’s work symbolizes ove nove kinematografije tijela, ali i neugode, iskušenja, muke experience what the actors experience themselves. This type 200 oris, broj 96, godina 2015. oris, number 96, year 2015 gaspar noé, Film gaspar noé, Film 201 Kadrovi iz filma Seul contre tous, 1998. Stills from the film I Stand Alone, 1998 (cp) i straha, uvrstimo li engleski ordeal u opis. Opasnost i ona of media experience is nothing new at all; it was already present opet, poručuje svojoj publici kako olakšanja nema. I cijeli kor- time. Gaspar’s seemingly pretentious story, with artistic ten- mračna strana ljudskog postojanja privući će dakako i one in the aspirations of early avant-garde and experimental film pus događaja u tome filmu ispričan je inverzno, prateći zbi- dencies at the level of 2001: A Space Odyssey (because of fanove horora s početka priče, no njegov opus posve izmiče authors, whose aspirations, of course, Gaspar records alto- vanja kronološki unatrag, pri čemu neugoda biva naglašenija which, according to him, he started making films in the first žanrovskim zadatostima, iako je i on sam, kao netko tko je gether frequently. Yet it seems that he has succeeded in fulfill- jer informaciju o onom što će se dogoditi promatrač zna place), is set in neon-lit nocturnal Tokyo, where everything odrastao na Kubricku, King Kongu i eksploatacijskim čude- ing that intention, not without metaphorical victims, of course: unaprijed. ¶ Snimivši Ulaz u prazninu (Enter the Void, 2009.) seems intrinsically artificial. His idea about karma and reincar- sima 70-tih i 80-tih, svoje današnje ideje formirao upravo na chiefly in the twelve-minute-long rape scene in Irréversible, in kao svoj sljedeći dugometražni naslov, Noé se još više potvr- nation becomes less extravagant, that is, it fits fairly well into takvim temeljima. ¶ Sintagma koja se možda najčešće pojav- which his camera is situated, simply and effectively, on the very đuje kao sineast posve drugačijega kova. I taj film, baš kao i the architecture of the environment, but also of kitsch, of ljuje u recenzijama Noéovih djela je napad na osjetila. Uz nju floor of the room where the violent act occurs. Thus, the eye Nepovratno, želi svoga gledatelja uvući u svoje tkivo, što i accented typographies. ¶ Naturally, Gaspar would not have se često pojavljuje i ponižavanje gledatelja, no ta je vjero- of the spectator is brought to the lower perspective, static and čini snimajući većinu filma iz subjektivnoga kadra, ali i simu- been the bad boy of the French Extremity if had he not also jatno i ključ uspjeha ovakvog filmskog pristupa. Ideja je, trapped, as if it were unable to escape. Or, as if it were con- lirajući let umrle duše slobodnim kretanjem u prostoru i vre- included probably the most unusual sex scene in the entire his- naime, uvući samu publiku u tijelo filma i pridobiti je da ono vulsed, detached, and waiting for the act to pass, like a reluctant menu. Naoko pretenciozan sižē, umjetničkih stremljenja na tory of filmmaking: the one that the spectator watches from što prolaze glumci – prođe i ona. Takav tip medijskoga isku- witness. The length of the take is atypical, and deliberately does razini jedne 2001: Odiseje u svemiru, zbog koje se, prema the inside, from the position of the future fetus.
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