{"id":8331,"date":"2024-10-31T11:57:05","date_gmt":"2024-10-31T11:57:05","guid":{"rendered":"https:\/\/taifasfestival.ro\/?p=8331"},"modified":"2025-02-23T17:53:09","modified_gmt":"2025-02-23T17:53:09","slug":"kyuka-pesti-si-oameni-alex-higyed","status":"publish","type":"post","link":"https:\/\/taifasfestival.ro\/en\/kyuka-pesti-si-oameni-alex-higyed\/","title":{"rendered":"Kyuka \u2013 Pe\u0219ti \u0219i oameni – Alex Higyed"},"content":{"rendered":"

Ca un <\/span>postcard <\/span><\/i>al unei familii care se-aga\u021b\u0103 de fiecare mal al M\u0103rii Egee, <\/span>Kyuka Before Summer\u2019s End<\/span><\/i> spune povestea lui Babis (Simeon Tsakiris) \u0219i a copiilor s\u0103i, gemenii Konstantinos \u0219i Elsa (Konstantinos Georgopoulos \u0219i Elsa Lekakou), afla\u021bi la v\u00e2rsta la care \u00eenva\u021b\u0103, exploreaz\u0103, se r\u0103zbat \u0219i se ad\u00e2ncesc tot mai mult \u00een complexit\u0103\u021bile familiale pe care Kostas Charamountanis le expune cu un soi de bl\u00e2nde\u021be estetic\u0103, cald\u0103, natural\u0103 (at\u00e2t la nivel vizual, c\u00e2t \u0219i narativ). Chiar dac\u0103 imaginile sunt adesea <\/span>deranjante<\/span><\/i> (copiii care m\u0103n\u00e2nc\u0103 pr\u0103jitura de ciocolat\u0103, vomitatul \u0219i s\u0103ritul \u00een ap\u0103 \u2013 imagini cu care debuteaz\u0103 filmul), au o nuan\u021b\u0103 de familiaritate care aduc publicul mai aproape de (con)textul filmului. Familiaritate care vine tocmai din universalitatea gesturilor (\u00een sensul larg al cuv\u00e2ntului \u2013 dialogurile pu\u021bin st\u00e2njenitoare, laconice, foarte agresive, a\u0219 zice, care nu fac dec\u00e2t s\u0103 surprind\u0103 conflictele \u00een toat\u0103 naturale\u021bea lor.\u00a0<\/span><\/p>\n

Babis, Konstantinos, Elsa \u0219i Anna par pictate pe vase de ceramic\u0103 (\u0219i aici m\u0103 opresc cu referin\u021bele la cultura greac\u0103, s\u0103 nu ne \u00eenc\u0103rc\u0103m degeaba, dar, e mi-e tare greu s\u0103 nu le asociez chipurile cu un anumit model), ofer\u0103, at\u00e2t prin dialog, c\u00e2t \u0219i prin mi\u0219c\u0103rile oarecum artificiale, statice pe alocuri, un soi de disconfort pe care, fie c\u0103 vrem, fie c\u0103 nu, \u00eel recunoa\u0219tem undeva \u00een\u0103untrul nostru. Precum picturile de pe vasele grece\u0219ti, filmul lui Charamountanis red\u0103 o scen\u0103 de pe \u201einsul\u0103\u201d, locul \u00een care trecutul \u0219i prezentul se ciocnesc.\u00a0<\/span><\/p>\n

R\u0103m\u00e2ne, deci, s\u0103 ne \u00eentreb\u0103m dac\u0103 trauma unui trecut l\u0103sat de izbeli\u0219te nu e nimic altceva dec\u00e2t o traum\u0103 comun\u0103, ceva ce resim\u021bim cu to\u021bii, at\u00e2t la nivel personal, c\u00e2t \u0219i la nivel cultural. Tocmai datorit\u0103 stilului eliptic de a povesti, Charamountanis construie\u0219te un fir narativ generalist, \u00een care cadrele \u00een sine, felul \u00een care se schimb\u0103\u00a0 camera \u00een timpul dialogului \u2013 la prima lor \u00eent\u00e2lnire dup\u0103 mult timp Anna \u0219i Babis se mi\u0219c\u0103 \u00eenspre st\u00e2nga \u201escenei\u201d (trecut, deci, dac\u0103 \u00eemi permite\u021bi o interpretare mai ad\u00e2nc\u0103). <\/span>Kyuka<\/span><\/i> \u00eemi pare un scenariu al \u00eencerc\u0103rilor \u2013 al \u00eencerc\u0103rilor de a (re)construi trecutul, \u00eencerc\u0103rilor de a (re)dob\u00e2ndi noi atuu-uri, a \u00eencerc\u0103rilor de a p\u0103stra noutatea trecutului \u2013 construit pe o dualitate care jongleaz\u0103 \u00eentre bine \u0219i r\u0103u, curat \u0219i murdar, viermi \u0219i pe\u0219ti, prad\u0103 \u0219i pr\u0103d\u0103tor.\u00a0<\/span><\/p>\n

Hristoase au trecut 8 ani!<\/span><\/i> \u00eei spune Enrico Valeriei \u00een <\/span>Anonimul vene\u021bian <\/span><\/i>a lui Enrico Maria Salerno. <\/span>You\u2019re so old and wrinkly<\/span><\/i>, \u00eei spune Babis Annei c\u00e2nd se \u00eent\u00e2lnesc dup\u0103 ani de zile pe malul insulei Poros. <\/span>Can I hug you?<\/span><\/i> Spune Anna mai apoi, oferind un soi de tandre\u021be violent\u0103 momentului primei \u00eent\u00e2lniri. Charamountanis revine mereu la aceste contraste \u00eentre violen\u021b\u0103 \u0219i confort, \u00eentre trecutul oferit prin micile doze de dialog cu nuan\u021be poetice, mereu parc\u0103 referindu-se la existen\u021ba unui trecut intens, infestat cu <\/span>viermi <\/span><\/i>(la care chiar Babis spune c\u0103 <\/span>trebuie <\/span><\/i>s\u0103 se \u00eentoarc\u0103 pentru ca face bani). Anna (Elena Topalidou) \u00ee\u0219i p\u0103streaz\u0103 alura de femeie misterioas\u0103, parc\u0103 \u00eenstr\u0103inat\u0103 de tot ce \u00eenseamn\u0103 familie (dac\u0103 nu chiar o femeie u\u0219oar\u0103, c\u0103 tot avem un prim cadru cu ea pe marginea unei \u0219osele).\u00a0<\/span><\/p>\n

Vedem, deci, \u0219i un soi de proces de contaminare cultural\u0103 introduse clandestin printre cadre \u2013 dac\u0103 e s\u0103 ne amintim de cina de la \u00eenceputul filmului \u00een care Babis e singurul care m\u0103n\u00e2nc\u0103 pe\u0219te, \u00een timp ce copiii m\u0103n\u00e2nc\u0103 paste: <\/span>Me, a fisherman, eating pasta<\/span><\/i>, spune Babis cu un soi de frustrare \u00een voce. Aici \u0219i un conflict intergenera\u021bional recurent \u00een mai multe scene din film pe care Charamountanis nu ezit\u0103 s\u0103 ne spun\u0103 c\u0103 poate lua diferite forme: de la m\u00e2ncare, la felul \u00een care rezolv\u0103m anumite probleme personale, sau chiar legat de practicalitatea anumitor solu\u021bii: <\/span>There\u2019s also some fish for you. We\u2019re only eating pasta<\/span><\/i>, spune Konstantinos; iar mai apoi, c\u00e2nd Babis \u00eei ofer\u0103 o bucat\u0103 de pe\u0219te, K. refuz\u0103 f\u0103r\u0103 s\u0103 stea pe g\u00e2nduri; ca mai apoi s\u0103, dup\u0103 ce o \u00eent\u00e2lne\u0219te pe Ioli (oli Kalaitzi), \u0219i K. se \u00eemprietene\u0219te cu ea \u0219i Artemis (Afroditi Kapokaki), Charamountanis reu\u0219e\u0219te s\u0103 surprind\u0103 \u00eenc\u0103 o tensiune \u00een familia protagoni\u0219tilor \u2013 faptul c\u0103 K. \u00ee\u0219i face manichiura st\u00e2rne\u0219te un soi de conflict \u00eentre tat\u0103 \u0219i fiu, ar\u0103t\u00e2nd un soi de rela\u021bie kafkian\u0103 \u00eentre cei doi.<\/span><\/p>\n

C\u00e2t despre textul filmului, mi se pare fermec\u0103tor cum, \u00een scena autoreflexiv\u0103 \u00een care Charamountanis alege s\u0103 surprind\u0103 doar imagini cu pe\u0219ti, reu\u0219e\u0219te s\u0103 eviden\u021bieze principalele <\/span>teme <\/span><\/i>(s\u0103 le zic a\u0219a), ale filmului: familia, pasiunea, nevoia de comunitate. Pasiunile, la fel ca intersele romantice, sau familia, deprind \u00een timp o dinamic\u0103 de tipul <\/span>love-hate<\/span><\/i>. Babis care, de\u0219i revoltat pe faptul c\u0103 nu reu\u0219e\u0219te s\u0103 prind\u0103 niciun pe\u0219te \u00eentr-o dup\u0103-amiaz\u0103, love\u0219te nervos apa, \u00eenjur\u00e2nd \u0219i blestem\u00e2nd de toate \u0219i pe to\u021bi, ca mai apoi s\u0103 fie fascinat de harponul unui str\u0103in. Totu\u0219i el st\u0103 la distan\u021b\u0103 de familie (gemenii fiind pe barc\u0103 al\u0103turi de Ioli \u0219i Artemis), ignor\u00e2nd toate schimb\u0103rile care se \u00eent\u00e2mpl\u0103 \u00een dinamica <\/span>vacan\u021bei<\/span><\/i> \u00een familie<\/span><\/i>. Bebis trebuie s\u0103 munceasc\u0103, trebuie s\u0103-\u0219i urmeze pasiunea, trebuie s\u0103 arate c\u0103 \u00eenc\u0103 de\u021bine un soi de putere. El \u00eencearc\u0103 mereu s\u0103 demonstreze c\u0103 e capabil, c\u0103 el e cel care conduce bancul de pe\u0219ti.<\/span><\/p>\n

Cum spun \u0219i cei de la <\/span>Screen Daily<\/span><\/i>, filmul are un ritm propriu, un ritm care nu face dec\u00e2t s\u0103 ajute la deconstruirea dinamicilor familiale, bine \u00eenchegate \u00een cultura greac\u0103 \u2013 aceea c\u0103 tat\u0103l trebuie s\u0103 fie un provider, mereu atent s\u0103 \u00ee\u0219i urmeze pasiunile din care poate s\u0103 hr\u0103neasc\u0103 \u00eentreaga familie: \u201eThe unruly nature of Charamountanis\u2019 approach means not all of his ideas work all of the time. But this is a filmmaker with faith in his own rhythms and a muscular enough plan of attack to encourage us to fall in step with this family summer, which plays out at the meeting point of nostalgia and something new.\u201d (<\/span>Screen Daily<\/span><\/i>). Filmul lui Charamountanis are, deci, o muzicalitate aparte, pe care orice tip de public o poate sesiza.<\/span><\/p>\n

Acest ritm distinct este esen\u021bial pentru a transmite tensiunile subtile care persist\u0103 \u00eentre personaje. \u00cen spatele fiec\u0103rui dialog aparent banal sau gest static, se simte o vibra\u021bie constant\u0103 a dorin\u021bei \u0219i a frustr\u0103rii, o re\u021bea de emo\u021bii nerezolvate care pulseaz\u0103 \u00een fundal. Aceast\u0103 muzicalitate narativ\u0103 creeaz\u0103 un echilibru delicat \u00eentre ceea ce este spus \u0219i ceea ce r\u0103m\u00e2ne nerostit, \u00eentre lini\u0219tea scenic\u0103 \u0219i agita\u021bia emo\u021bional\u0103 a personajelor.<\/span><\/p>\n

\u00cen plus, cadrele lungi \u0219i pauzele deliberat tensionate din film reflect\u0103 nu doar ezit\u0103rile dintre personaje, ci \u0219i pe cele culturale, unde rolurile tradi\u021bionale de gen \u0219i a\u0219tept\u0103rile sunt \u00een continu\u0103 schimbare. Tat\u0103l, Babis, este prins \u00eentre vechile norme culturale \u0219i realit\u0103\u021bile moderne care \u00eei submineaz\u0103 autoritatea de \u201est\u00e2lp\u201d al familiei, lucru care, de altfel, se vede \u0219i \u00een reac\u021biile sale fa\u021b\u0103 de copiii s\u0103i, mai ales \u00een momentele de respingere subtil\u0103 a noilor genera\u021bii.<\/span><\/p>","protected":false},"excerpt":{"rendered":"

Ca un postcard al unei familii care se-aga\u021b\u0103 de fiecare mal al M\u0103rii Egee, Kyuka Before Summer\u2019s End spune povestea lui Babis (Simeon Tsakiris) \u0219i a copiilor s\u0103i, gemenii Konstantinos \u0219i Elsa (Konstantinos Georgopoulos \u0219i Elsa Lekakou), afla\u021bi la v\u00e2rsta la care \u00eenva\u021b\u0103, exploreaz\u0103, se r\u0103zbat \u0219i se ad\u00e2ncesc tot mai mult \u00een complexit\u0103\u021bile familiale […]<\/p>","protected":false},"author":4,"featured_media":8332,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[57,58,56],"tags":[],"class_list":["post-8331","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cronica-taifas-2024","category-eseu-2024","category-rezidenta-literara-2024"],"_links":{"self":[{"href":"https:\/\/taifasfestival.ro\/en\/wp-json\/wp\/v2\/posts\/8331","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=8331"}],"version-history":[{"count":1,"href":"https:\/\/taifasfestival.ro\/en\/wp-json\/wp\/v2\/posts\/8331\/revisions"}],"predecessor-version":[{"id":8333,"href":"https:\/\/taifasfestival.ro\/en\/wp-json\/wp\/v2\/posts\/8331\/revisions\/8333"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/taifasfestival.ro\/en\/wp-json\/wp\/v2\/media\/8332"}],"wp:attachment":[{"href":"https:\/\/taifasfestival.ro\/en\/wp-json\/wp\/v2\/media?parent=8331"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/taifasfestival.ro\/en\/wp-json\/wp\/v2\/categories?post=8331"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/taifasfestival.ro\/en\/wp-json\/wp\/v2\/tags?post=8331"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}