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Cinema City - Filmski utisci iz Berlina - deo peti
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Filmski utisci iz Berlina - deo peti
Mađarski scenarista i reditelj Tarr Bela veliki je stvaralac, posvećen filmu, ali i stvaranju mladih filmskih umetnika. Njegov poslednji film "Torinski konj", kako je najavio, možda će i zaista biti poslednji u svojstvu reditelja, jer će se baviti samo produkcijom, nameravajući tako da omogući šansu mladima da snimaju filmove.


Plemenito, neuobičajeno, ali i svojstveno Tarr Beli. Onako za sebe, nevažno, pitam se kada će se neki od naših reditelja seniora setiti da prekinu staračko preispitivanje iskrivljenih istina, pa ustupe mesto svojim i svim ostalim studentima. Taj poslednji film Tarr Bele je težak, spor, pun ponavljanja, ali baš zato i nalik svakidašnjem životu kakav je bio, pre sto godina, kakav je danas, a kakav će biti za sto godina.

Nemački filozof Friedrich Nietzsche, na svom proputovanju kroz italijanski grad Torino, postaje svedokom brutalnog bičevanja jednog konja. Stavljajući ruke oko vrata životninje, Nietzsche pokušava da je zaštiti, nakon čega pada u nesvest. Nedugo potom Nitzscheu je dijagnostikovan ozbiljan mentalni poremećaj i narednih deset godina, sve do smrti, on provodi bez reči, vezan za krevet, dok ga neguju jedino majka i sestre. Postavlja se pitanje šta se zapravo desilo sa konjem. Kroz fiktivnu priču, poslednji film čuvenog mađarskog autora, odgovara na to pitanje. Čovek koji je šibao konja je siromašni seljak i živi od transporta stvari konjskom zapregom. Konj je već vrlo star i bolestan. A životi seljaka i njegove ćerke zavise od oronule životinje. Smrt konja zapravo postaje temelj ove tragične priče...

Ustvari, svaki je konj Torinski, svaki je siromašni seljak gladan i besan, a kad svoj bes nema na kome da iskali, iskaliće ga na nedužnoj životinji koja ga verno i ćutke služi i prati, kroz maglu, oluju, maglu, hladnoću, maglu, i dalje. U filmu su dva lika, otac i kći, protutnje neki raskalašni Cigani, jedan filozof amater i bolesni konj... ali, ali to je ono što čini prepoznatljiv realizam ovog autora, ali i otvorenost prema publici, otvorenost ka preispitivanju, preslišavanju o tome koliko i dokle trajemo. Verovatno dok naša bleda slika ne padne sa belog zida, ne duže.

Bela je svoju filmsku karijeru započeo kao glumac sa svega deset godina, a filmom je amaterski počeo da se bavi u šesnaestoj, da bi u svojoj zreloj stvaralačkoj fazi izneo umetnost kroz “Damnation” (Karhozat, 1987), “Satantango” (1994), “Werkmeister Harmonies” (2000). Pri tom je dovoljno reći i da za svog uzora ističe čuvenog Fassbindera, jednog od najznačajnijih predstavnika “nove nemačke kinematografije”.

Ipak, publika je masovno odlazila sa projekcije, a neki su i mukali na kraju, negodujući, ali tako su mukali i Fassbinderu kad je prvi put bio na Berlinalu. Izgleda da ih i posle 40 godina zanimaju samo ziceri, odnosno ziheri i osvedočene blistave zvezde, a ne tamo neki umetnici.