La cump\u0103na imaginilor, cump\u0103nirea istoriei
\n<\/b>(noua alchimie a umanului)<\/b><\/p>\n
Nu am avut de multe ori ocazia s\u0103 particip la festivaluri de film, astfel \u00eenc\u00e2t, de data aceasta, am \u201eprofitat\u201d, \u00een sensul c\u0103 m-am livrat \u00eentregului program \u0219i \u00eentregii program\u0103ri, \u201e\u00eenghi\u021bind\u201d, \u201e\u00eenfulec\u00e2nd\u201d film dup\u0103 film, de c\u00e2teva ori chiar c\u00e2te trei pe zi, cu scurte pauze de cafea \u0219i de alte \u00eent\u0103ritoare \u0219i energizante <\/span>\u00eentre<\/span><\/i>. Am adoptat o postur\u0103 tactic\u0103 de relativ\u0103 pasivitate, de receptivitate cuminte \u0219i r\u0103bdare interesat\u0103, de deschidere prietenoas\u0103, umil\u0103, \u00een acela\u0219i timp curioas\u0103 \u0219i respectuoas\u0103, <\/span>expun\u00e2ndu-m\u0103<\/span><\/i>, <\/span>eu pe mine<\/span><\/i>, operelor de art\u0103, l\u0103s\u00e2ndu-le \u0219i invit\u00e2ndu-le s\u0103 se r\u0103sfr\u00e2ng\u0103, s\u0103 se <\/span>proiecteze<\/span><\/i> \u00een\/pe mine, s\u0103 m\u0103 scoat\u0103 din mine ca s\u0103 lucr\u0103m \u00eempreun\u0103, altfel, altundeva.<\/span><\/p>\n Pentru c\u0103 sunt tot mai convins c\u0103 Balcanii sunt cel mai scurt <\/span>ocol<\/span><\/i>, cel mai practicabil \u0219i roditor drum indirect fa\u021b\u0103 de mine \u00eensumi, fa\u021b\u0103 de noi \u00een\u0219ine de aici-\u0219i-acum, cel mai apropiat, dar totu\u0219i ocol, cea mai la \u00eendem\u00e2n\u0103 \u0219i relevant\u0103 posibilitate de distan\u021bare, de cunoa\u0219tere-recunoa\u0219tere de sine din imediat, de aproape, din <\/span>vecini<\/span><\/i>: <\/span>juste \u00e0-c\u00f4t\u00e9<\/span><\/i>, \u201edrept-al\u0103turi\u201d, cum cvasi-hasidic spunea Derrida.<\/span><\/p>\n Iar acum, dup\u0103 acest maraton fericit, beatific chiar uneori \u2013 un adev\u0103rat extaz: \u00eent\u00e2lnire \u00een afar\u0103, \u00eentr-un spa\u021biu virtual ter\u021b, de fiecare dat\u0103 inventat, altul, cu arta \u2013, singura tactic\u0103 practicabil\u0103 este s\u0103 vorbesc despre ce \u00eemi amintesc, despre ce mi-a r\u0103mas, despre ce \u00eemi revine, despre ce m\u0103 b\u00e2ntuie din(spre) aceste filme, pe scurt, despre ce a\u0219 dori, deja, s\u0103 rev\u0103d.<\/span><\/p>\n Filme balcanice recente, strict contemporane, a\u0219adar. Ce mi-a r\u0103mas, ce mi s-a imprimat, sedimentat, precipitat din ele, dup\u0103 interac\u021biunea cu ele, ce a con-crescut din noi, din <\/span>\u00eent\u00e2lnirea<\/span><\/i> noastr\u0103?\u00a0<\/span><\/p>\n Ce fac arti\u0219tii cu realit\u0103\u021bile at\u00e2t de pline \u0219i de grele ale acestei \u201ezone\u201d, ale acestor istorii? Cum se poate lucra cu ele, \u0219tiind c\u0103 pot risca s\u0103 te \u00eenghit\u0103, s\u0103 te aserveasc\u0103, s\u0103 te distrug\u0103? Proba suprem\u0103 a artei: cum s\u0103 \u201eprelucrezi\u201d un \u201ecomplex\u201d, o concrescen\u021b\u0103 de realit\u0103\u021bi cultural-istorice at\u00e2t de fr\u0103m\u00e2ntate?\u00a0<\/span><\/p>\n \u0218i, pe de alt\u0103 parte, nu tocmai arta este singura care poate face ceva, cu a\u0219a ceva? Nu tocmai arta trebuie s\u0103 inspire o anumit\u0103 <\/span>art\u0103 de a tr\u0103i<\/span><\/i>, a tr\u0103itului \u00een comun, \u00eempreun\u0103, a con-vie\u021buirii? Nu tocmai <\/span>lipsa<\/span><\/i> or <\/span>refuzul artei<\/span><\/i>, \u00een sensul cel mai larg \u0219i mai difuz, dar \u0219i mai strict, mai \u201etare\u201d cu putin\u021b\u0103, a dus \u0219i continu\u0103 s\u0103 duc\u0103 la catastrofe? Cu at\u00e2t mai mult \u00een cazul filmului, art\u0103 a imaginilor de realitate prin excelen\u021b\u0103, capabil\u0103 s\u0103 lucreze cu imaginile noastre mentale reciproce, cu reprezent\u0103rile \u0219i stereotipurile unora despre al\u021bii, care de multe ori \u2013 ca \u00een cazul, eminent din acest punct de vedere, al Balcanilor \u2013 ne unesc tocmai prin dezbinare, leg\u00e2ndu-ne exploziv, prin diferenduri.<\/span><\/p>\n Mai multe impresii sau senza\u021bii, a\u0219adar, pe care le cred generalizabile \u00eentr-un anumit portret sau stare de spirit generic\u0103, proiec\u021bie, fie \u0219i de moment.\u00a0<\/span><\/p>\n \u00cen primul r\u00e2nd, este vorba de ceea ce se cheam\u0103 <\/span>filme de autor<\/span><\/i> \u0219i chiar <\/span>filme de art\u0103<\/span><\/i>, profund <\/span>europene<\/span><\/i> deci \u0219i, mai ales, non-americane, extra-americane. Dar \u0219i, mai important \u0219i actual, <\/span>rezistent <\/span><\/i>or <\/span>remanent-europene<\/span><\/i>.<\/span><\/p>\n Planuri lungi de t\u0103cere, \u00een care \u0219i protagonistul, \u0219i noi, spectatorii, <\/span>g\u00e2ndim<\/span><\/i>, suntem ar\u0103ta\u021bi g\u00e2ndind, cuget\u00e2nd la ac\u021biunile \u0219i la vie\u021bile noastre, <\/span>\u00eempreun\u0103<\/span><\/i>: ne une\u0219te, ne reune\u0219te <\/span>t\u0103cerea g\u00e2ndirii<\/span><\/i>, \u201epauza de g\u00e2ndire\u201d. Adic\u0103 ac\u021biunile reflectate, non-automatismele \u0219i anti-reflexele, postura uman\u0103 \u0219i umanizant\u0103 prin excelen\u021b\u0103.<\/span><\/p>\n One of Those Days When Hemme Dies<\/i><\/b> (actor \u0219i regizor, Murat Firato\u011flu, Turcia, 2024): \u00een plin\u0103 epoc\u0103 a paranoiei conspirativiste, o conspira\u021bie obiectiv\u0103, contingent\u0103, a <\/span>binelui<\/span><\/i> \u2013 a am\u00e2nare \u0219i abatere, o deviere a cursului ac\u021biunii pentru ca protagonistul s\u0103 nu ucid\u0103, s\u0103 nu comit\u0103 crima, s\u0103 nu dea curs reac\u021biei de moment. Ora\u0219ul-devenind labirint, dar invers, pozitivat. Anti-fatalitate posibil\u0103.<\/span><\/p>\n Generalizare. Exist\u0103 mult\u0103 stilizare \u0219i compozi\u021bie, mult\u0103 aten\u021bie infinitezimal\u0103 \u0219i chiar <\/span>gra\u021bie<\/span><\/i>, subtilitate, <\/span>fine\u021be<\/span><\/i>, <\/span>grij\u0103<\/span><\/i> formal\u0103<\/span><\/i>, \u00eengrijire formal\u0103 a \u201econ\u021binutului\u201d traumatic, deci nu \u00een sensul vreunui <\/span>estetism<\/span><\/i>, ci \u00een sens <\/span>etic<\/span><\/i>, \u00een sensul celor deja spuse, un formalism <\/span>ne-for\u021bat<\/span><\/i>, care nu urm\u0103re\u0219te s\u0103 provoace, s\u0103 scandalizeze, s\u0103 ultragieze (asemenea avangardelor \u0219i experimentalismelor \u201eistorice\u201d), ci, dimpotriv\u0103, menit, cultivat pentru a contrabalansa at\u00e2t violen\u021ba exploziv\u0103 a realit\u0103\u021bii sociale \u0219i afective, culturale, c\u00e2t \u0219i afectarea \u0219i, de fapt, de-vitalizarea formalist-estetizant\u0103. O anumit\u0103 virilitate post-masculinist\u0103, dac\u0103 se poate spune a\u0219a. \u00centrevederea unui nou concept \u2013 <\/span>fericit<\/span><\/i> \u2013 de Balcani \u0219i de balcanism.<\/span><\/p>\n Formalism non-violent, tocmai.<\/span><\/p>\n Generalizare. Filmele balcanice de autor nu se opun estetiz\u0103rii, nu dez-estetizeaz\u0103 sau anti-estetizeaz\u0103 <\/span>brutal<\/span><\/i>, tocmai <\/span>brutalitatea<\/span><\/i> este ocolit\u0103 \u0219i <\/span>tratat\u0103<\/span><\/i> at\u00e2t pe latura \u201econ\u021binutului\u201d uman, c\u00e2t \u0219i pe cea a formei artistice. Nu at\u00e2t (eisensteinian, provocator-avangardist, revolu\u021bionar) prin <\/span>montaj<\/span><\/i>, care preponderent, \u00een aceste filme, e liniar, lini\u0219tit, calm (\u00eembr\u0103\u021bi\u0219\u00e2nd, mul\u00e2ndu-se pe narativitatea comun\u0103), c\u00e2t prin, cum spuneam, <\/span>compozi\u021bie<\/span><\/i>, art\u0103 literar-arhitectural\u0103 mai \u00eenalt\u0103 \u0219i mai subtil\u0103, mai fin\u0103 \u0219i mai dificil\u0103, mai \u201eocolit\u0103\u201d, ac\u021bion\u00e2nd prin sugestie \u0219i rezonan\u021b\u0103, nu prin \u0219oc.\u00a0<\/span><\/p>\n Filme care <\/span>trateaz\u0103<\/span><\/i> imaginile (adic\u0103 \u00eent\u00e2lnirile obiectiv-mentale din-tre noi), art\u0103 menit\u0103 a <\/span>vindeca<\/span><\/i>.<\/span><\/p>\n Filmele balcanice de autor nu dez-estetizeaz\u0103, ci propun \u0219i cultiv\u0103 <\/span>alte estetici<\/span><\/i>, asumat \u0219i polemic \u201eminore\u201d, \u00een sensul lui Deleuze-Guattari din <\/span>Kafka. Pentru o literatur\u0103 minor\u0103<\/span><\/i>: minorul ca extrem, dar discret <\/span>politic<\/span><\/i>, alter-politic, alt fel de a face politic\u0103 \u0219i, mai ales, de a desf\u0103\u0219ura, de a efectua <\/span>politicul<\/span><\/i>. Estetici \u201eminore\u201d, micro-estetici asumat \u201esubalterne\u201d, altfel spus nu numai non- sau chiar anti-americane, ci \u0219i profund \u0219i polemic europene, \u00een condi\u021biile unui spirit european tot mai americanizat.\u00a0<\/span><\/p>\n Cinematografic, artistic, Europa s-a mutat din nou (dup\u0103 at\u00e2tea \u0219i at\u00e2tea valuri de avangard\u0103) \u00een Est \u0219i Sud-Est, \u00een mun\u021bii Balcanilor: retragere \u00een rezisten\u021b\u0103, \u00een rezonan\u021b\u0103, \u00eens\u0103, cu alte \u201ecitadele\u201d \u0219i \u201efort\u0103re\u021be\u201d, cu alte focare de rezisten\u021b\u0103 din lume (Asia de Sud-Est, America de Sud etc.).<\/span><\/p>\n Continui. Micro-estetici \u0219i mini-poetici discret terapeutice asumate care, astfel, sunt non-recuperabile \u0219i non-instrumentalizabile de c\u0103tre \u201esistem\u201d, care este un sistem esen\u021bialmente al r\u0103zboiului, al violen\u021bei induse \u0219i externalizate, ventrilocate, ventri-localizate.<\/span><\/p>\n Violen\u021ba con\u021binut\u0103, \u00eentrupat\u0103, somatizat\u0103 \u0219i performat\u0103 tocmai pentru a fi con\u021binut\u0103 din <\/span>Mama Mona <\/i><\/b>(regia Mirjana Karanovic, Serbia, 2024).<\/span><\/p>\n Sau fina traversare, \u00een registru \u201eminor\u201d, \u201ecomic\u201d, adic\u0103 auto-derizoriu, a genurilor din <\/span>KYUKA Before Summer\u2019s End <\/i><\/b>(regia Kostas Charamountanis, Grecia-Macedonia, 2024).<\/span><\/p>\n Sau greutatea, ap\u0103sarea, ponderea, reg\u0103sirea re-verticalizant\u0103, re-umanizant\u0103 a <\/span>gravita\u021biei faptelor<\/span><\/i> din <\/span>Windless <\/i><\/b>(regia Pavel G. Vesnakov, Bulgaria-Italia, 2024): sobru, greu, dar gra\u021bios, inclusiv la nivelul camerei, al cadrului, vertical(izant), dar nu violent.<\/span><\/p>\n Centrare pe con\u021binut, pe modelarea \u0219i <\/span>\u00eencadrarea<\/span><\/i> discret\u0103, dar ferm\u0103 (\u00een toate sensurile cuv\u00e2ntului <\/span>cadru<\/span><\/i>, care face din cinema arta suprem\u0103, arta-cheie) a tr\u0103itului.<\/span><\/p>\n Sculptur\u0103 \u201emic\u0103\u201d.<\/span><\/p>\n Excep\u021bionala sobrietate \u201eseac\u0103\u201d, pur narativ\u0103, de fapt compozi\u021bional\u0103, din <\/span>Celebration <\/i><\/b>(regia Bruno Ankovi\u0107, Croa\u021bia-Qatar, 2024): arat\u0103, nu condamn\u0103, nu se bag\u0103, nu se las\u0103 atras\u0103 \u00een lupt\u0103. O lec\u021bie de tratare etic\u0103, \u201emedical\u0103\u201d, a r\u0103nilor istorice, de cele mai multe ori mo\u0219tenite ca reflexe \u0219i automatisme.<\/span><\/p>\n Mica capodoper\u0103, capodoper\u0103, dar mic\u0103, la scar\u0103 uman\u0103, <\/span>78 Days <\/i><\/b>(regia Emilija Ga\u0161i\u0107, Serbia, 2024): intimitatea familial\u0103 a film\u0103rilor \u00een sine copil\u0103re\u0219ti de amator, r\u0103zboiul \u201etangen\u021bial\u201d, dar la fel de ucig\u0103tor, rezilien\u021b\u0103 casnic-feminin\u0103 \u2013 \u0219i extraordinarul contrapunct final cu imaginea tat\u0103lui fr\u00e2nt, dar nu \u00eenfr\u00e2nt, \u00eendoit \u0219i sprijinit, <\/span>t\u0103c\u00e2nd<\/span><\/i> cu privirea \u201e\u00een gol\u201d, de fapt a\u021bintit\u0103, r\u0103mas\u0103 at\u00e2rnat\u0103 asupra cine \u0219tie c\u0103rui punct fix, infinit focalizat, \u00eentors din r\u0103zboi, \u201ede partea noastr\u0103\u201d.<\/span><\/p>\n Echilibru, echilibrare, art\u0103 compozi\u021bional\u0103 des\u0103v\u00e2r\u0219it\u0103. Compozi\u021bia ca tratare a violen\u021bei omniprezente.<\/span><\/p>\n Cred c\u0103, pe rom\u00e2ne\u0219te, cuv\u00e2ntul-cheie, familia lexical\u0103-cheie pentru toate acestea este aceea derivat\u0103 din <\/span>cump\u0103n\u0103<\/span><\/i>: <\/span>cump\u0103nit<\/span><\/i>, <\/span>a cump\u0103ni<\/span><\/i>, <\/span>a fi \u00een cump\u0103n\u0103<\/span><\/i>, <\/span>a pune \u00een cump\u0103n\u0103<\/span><\/i> etc.<\/span><\/p>\n Cump\u0103nire<\/span><\/i>, la toate nivelurile: personaje care tac \u00eendelung, care deci <\/span>cump\u0103nesc<\/span><\/i>; \u0219i compozi\u021bie care trateaz\u0103, care \u00eengrije\u0219te, care obloje\u0219te pentru a echilibra \u0219i <\/span>a cump\u0103ni<\/span><\/i>.<\/span><\/p>\n Arcadia <\/i><\/b>(regia Yorgos Zois, Bulgaria, 2024): alt\u0103 inversare (echilibrare), dup\u0103 cea din <\/span>Hemme<\/i><\/b>: noi b\u00e2ntuim fantomele, trecutul, s\u0103 le l\u0103s\u0103m, s\u0103-l l\u0103s\u0103m s\u0103 se duc\u0103, s\u0103 eliber\u0103m trecutul de tirania \u0219i de automatismele, de iner\u021bia memoriei noastre, s\u0103 ne scutur\u0103m de\/din lenea trecutului, din <\/span>alibiurile<\/span><\/i> istoriei, \u0219i s\u0103 ne cre\u0103m, s\u0103 ne compunem echilibrat, cump\u0103nit, liber, prezentul \u0219i viitorul. Noii Balcani ferici\u021bi \u0219i creativi.<\/span><\/p>\n Nimic, acum \u0219i aici, despre Yorgos Lanthimos. E poate prea mare \u0219i deja altceva. M-au interesat cei mul\u021bi \u0219i mici. \u201eMinorii\u201d discre\u021bi, dar nano-inventivi, <\/span>dincoace<\/span><\/i> de orice afectare.<\/span><\/p>\n Pe scurt, cinemaul balcanic contemporan, strict actual, ca semn al unui posibil nou \u0219i alt <\/span>balcanism<\/span><\/i> \u2013 fericit, pozitiv, exclusiv creator \u2013, \u00eemi apare ca o alchimie farmaceutic\u0103 c\u0103ut\u00eend practic, cu infinit\u0103 precau\u021bie \u0219i gra\u021bie, s\u0103 transforme, s\u0103 transmut\u0103 otr\u0103vurile istoriei \u00een medicamente.<\/span><\/p>\n Aceast\u0103 aventur\u0103 important\u0103 pentru toat\u0103 lumea \u2013 Noii Balcani, noul balcanism (fericit) al lumii, noua schi\u021bare, noua caligrafiere a umanului \u2013 merit\u0103 urm\u0103rit\u0103 de toat\u0103 lumea. De fapt, ar trebui s\u0103 ne l\u0103s\u0103m cu to\u021bii atra\u0219i \u00een ea. E singura care conteaz\u0103.\u00a0\u00a0\u00a0<\/span><\/p>","protected":false},"excerpt":{"rendered":" La cump\u0103na imaginilor, cump\u0103nirea istoriei (noua alchimie a umanului) Nu am avut de multe ori ocazia s\u0103 particip la festivaluri de film, astfel \u00eenc\u00e2t, de data aceasta, am \u201eprofitat\u201d, \u00een sensul c\u0103 m-am livrat \u00eentregului program \u0219i \u00eentregii program\u0103ri, \u201e\u00eenghi\u021bind\u201d, \u201e\u00eenfulec\u00e2nd\u201d film dup\u0103 film, de c\u00e2teva ori chiar c\u00e2te trei pe zi, cu scurte pauze […]<\/p>","protected":false},"author":4,"featured_media":8326,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[49,57,56],"tags":[],"class_list":["post-8325","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-49","category-cronica-taifas-2024","category-rezidenta-literara-2024"],"_links":{"self":[{"href":"https:\/\/taifasfestival.ro\/en\/wp-json\/wp\/v2\/posts\/8325","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/taifasfestival.ro\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/taifasfestival.ro\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/taifasfestival.ro\/en\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/taifasfestival.ro\/en\/wp-json\/wp\/v2\/comments?post=8325"}],"version-history":[{"count":1,"href":"https:\/\/taifasfestival.ro\/en\/wp-json\/wp\/v2\/posts\/8325\/revisions"}],"predecessor-version":[{"id":8327,"href":"https:\/\/taifasfestival.ro\/en\/wp-json\/wp\/v2\/posts\/8325\/revisions\/8327"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/taifasfestival.ro\/en\/wp-json\/wp\/v2\/media\/8326"}],"wp:attachment":[{"href":"https:\/\/taifasfestival.ro\/en\/wp-json\/wp\/v2\/media?parent=8325"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/taifasfestival.ro\/en\/wp-json\/wp\/v2\/categories?post=8325"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/taifasfestival.ro\/en\/wp-json\/wp\/v2\/tags?post=8325"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}