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Nekih četiri i pol mjeseca, od početka prosinca 2021. do konca travnja ove godine, nije bilo hrvatskih filmova u široj kinodistribuciji, za razliku od srpskih (“Zlatni dečko”). A onda su u razmaku od tri tjedna čak dva filma stigla na repertoar kina, najprije “Razgovor” Dominika Sedlara i sada “Djeca sa CNN-a” Aide Bukvić, snimljena u koprodukciji s Bosnom i Hercegovinom.

Nažalost, kvaliteta baš i nije na strani ovih filmova, napose “Djece sa CNN-a”, ali hrvatska produkcija je barem poboljšala kvantitetu. ”Djeca sa CNN-a” rođena su u kazalištu, točnije Pozorištu mladih Sarajevo. U početku je, dakle, bila istoimena kazališna predstava iz koje se izrodio ovaj film.

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FILM: Djeca sa CNN-a; drama; Hrvatska/BiH, 2022. REŽIJA: Aida Bukvić ULOGE: Amar Bukvić, Iva Mihalić DISTRIBUCIJA: Kreativna de Kultura OCJENA: ** ½

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Hvaljena kazališna predstava stvorena je 2005., napisao ju je Amir Bukvić, režirala njegova kćerka Aida, a govori o trumatiziranim mladim ljudima Dinu i Dori (Semir Krivić, Amra Kapidžić) koji se sreću i zbližavaju u Zagrebu, nakon što su pojedinačno proživjeli i preživjeli užase rata u Srebrenici i Vukovaru kao djeca čije su se fotografije vrtjele na rečenom CNN-u.

Predstava se 2008. preselila iz Sarajeva i u Zagreb, tj. dobila hrvatsku verziju u produkciji Histriona, s Aidinim bratom Amarom Bukvićem i Ivom Mihalić (oboje odlični), koja je na Marulićevim danima u Splitu osvojila nagradu publike, a i glavni glumac je višestruko nagrađen. Dvanaest godina kasnije, predstava je i filmovana s istom autorsko-glumačkom ekipom.

Za razliku od američke i svjetske kinematografije, hrvatski film rijetko preuzima predloške iz kazališta (npr. “Kauboji”, “Plavi cvijet”), jednako kao što i kazališni redatelji ne postaju često filmski (Bobo Jelčić; “Obrana i zaštita”, “Sam samcat”). Prijelaz s kazališta na film nije uvijek lagan i to se vidi na primjeru “Djece sa CNN-a”.

Redateljica Bukvić trudi se da film bude filmičan, ali filmičnost je svedena na svega šačicu prizora, odnosno kadrova direktora fotografije Ediba Ahmetaševića koji se snimateljski kalio na “Smrti u Sarajevu”, “Muškarci ne plaču”, “Osmom povjereniku”...

Lijepo je snimljena panorama Gornjeg grada, s buđenjem suncem okupanog Zagreba u zoru, što doživljavamo očima uličnog čistača Dina (Bukvić; ima nešto od mladog Seana Beana), kao i njegova prisjećanja na mlađeg brata dok se klinac umiva na proplancima ili igra s leptirima koji, simbolički, “žive samo jedan dan”.

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Film je posut simbolikom, pa tako imamo i gradski, ulični sat s kazaljkama zamrznutima u vremenu. “Vrijeme na onom satu stoji stalno na istom”, opaža Dino i čudi se kako ga nitko ne popravlja. Sat i vrijeme na neki način su stali za Dina otkako je došao u Zagreb iz Srebrenice, a posebice nakon što je njegov mlađi brat poslan s izbjegličkim konvojem u Dansku i od njega ni traga ni glasa.

Dino krati vrijeme radeći kao čistač, čekajući poziv prijatelja Fahre (Muhamed Hadžović) s telefonske govornice na Gornjem gradu ili razgovarajući s piću sklonim bivšim braniteljem i slikarom Gogom (Sreten Mokrović). Gogo ga uči o Renoiru i aktera svoje nove slike, možda dijelom i samog Dina, uspoređuje s Raskoljnikovom, pitajući se “ima li Boga?” i “ono vječno pitanje o zločinu i kazni”.

Da bi kazaljke Dinova vremena mogle početi kucati, sugerira pojava cimerice Dore (Mihalić kao svojevrsna Sonja Marmeladova “Djece s CNN-a”) koja studira psihologiju, radi “noćnu” smjenu u hotelu i voli filmove, naročito one “s pucnjavom”, poput “Nikite”.

No, problem je što i ona skriva psihičke rane iz Vukovara, gdje joj još žive majka i sestra kojima financijski pomaže prostitucijom u hotelu, a Dinova trauma se podvostručuje kad dozna da mu je brat u Danskoj završio u zatvoru kao terorist jer su mu “neki ispirali mozak”.

Tu priča postaje fabularno preopterećena i pretenciozna: kao da nisu dovoljni Srebrenica i Vukovar, u dramsku jednadžbu se uvodi islamski terorizam i aludira se na 11. rujna 2001. godine. “Što je Srebrenica spram New Yorka?”, Dina pita misteriozni istražitelj u tumačenju Dragana Despota.

Filmu ne pomaže ni pomalo teška redateljska ruka izraženog kazališnog izričaja koji vapi za kamernom dinamizacijom i suviše podsjeća na devedesete u hrvatskoj kinematografiji, kad je režijska i glumačka izvedba bila podjednako teatarski kruta. Filmska predstava je gotova.

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Vikend s Amarom i Ivom

Amar Bukvić i Iva Mihalić glumili su zajedno i u nedavnom Netflixovom trileru "Vikend u Hrvatskoj". Igrali su policajce.

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Nekih četiri i pol mjeseca, od početka prosinca 2021. do konca travnja ove godine, nije bilo hrvatskih filmova u široj kinodistribuciji, za razliku od srpskih (“Zlatni dečko”). A onda su u razmaku od tri tjedna čak dva filma stigla na repertoar kina, najprije “Razgovor” Dominika Sedlara i sada “Djeca sa CNN-a” Aide Bukvić, snimljena u koprodukciji s Bosnom i Hercegovinom.

Nažalost, kvaliteta baš i nije na strani ovih filmova, napose “Djece sa CNN-a”, ali hrvatska produkcija je barem poboljšala kvantitetu. ”Djeca sa CNN-a” rođena su u kazalištu, točnije Pozorištu mladih Sarajevo. U početku je, dakle, bila istoimena kazališna predstava iz koje se izrodio ovaj film.

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FILM: Djeca sa CNN-a; drama; Hrvatska/BiH, 2022. REŽIJA: Aida Bukvić ULOGE: Amar Bukvić, Iva Mihalić DISTRIBUCIJA: Kreativna de Kultura OCJENA: ** ½

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Hvaljena kazališna predstava stvorena je 2005., napisao ju je Amir Bukvić, režirala njegova kćerka Aida, a govori o trumatiziranim mladim ljudima Dinu i Dori (Semir Krivić, Amra Kapidžić) koji se sreću i zbližavaju u Zagrebu, nakon što su pojedinačno proživjeli i preživjeli užase rata u Srebrenici i Vukovaru kao djeca čije su se fotografije vrtjele na rečenom CNN-u.

Predstava se 2008. preselila iz Sarajeva i u Zagreb, tj. dobila hrvatsku verziju u produkciji Histriona, s Aidinim bratom Amarom Bukvićem i Ivom Mihalić (oboje odlični), koja je na Marulićevim danima u Splitu osvojila nagradu publike, a i glavni glumac je višestruko nagrađen. Dvanaest godina kasnije, predstava je i filmovana s istom autorsko-glumačkom ekipom.

Za razliku od američke i svjetske kinematografije, hrvatski film rijetko preuzima predloške iz kazališta (npr. “Kauboji”, “Plavi cvijet”), jednako kao što i kazališni redatelji ne postaju često filmski (Bobo Jelčić; “Obrana i zaštita”, “Sam samcat”). Prijelaz s kazališta na film nije uvijek lagan i to se vidi na primjeru “Djece sa CNN-a”.

Redateljica Bukvić trudi se da film bude filmičan, ali filmičnost je svedena na svega šačicu prizora, odnosno kadrova direktora fotografije Ediba Ahmetaševića koji se snimateljski kalio na “Smrti u Sarajevu”, “Muškarci ne plaču”, “Osmom povjereniku”...

Lijepo je snimljena panorama Gornjeg grada, s buđenjem suncem okupanog Zagreba u zoru, što doživljavamo očima uličnog čistača Dina (Bukvić; ima nešto od mladog Seana Beana), kao i njegova prisjećanja na mlađeg brata dok se klinac umiva na proplancima ili igra s leptirima koji, simbolički, “žive samo jedan dan”.

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Film je posut simbolikom, pa tako imamo i gradski, ulični sat s kazaljkama zamrznutima u vremenu. “Vrijeme na onom satu stoji stalno na istom”, opaža Dino i čudi se kako ga nitko ne popravlja. Sat i vrijeme na neki način su stali za Dina otkako je došao u Zagreb iz Srebrenice, a posebice nakon što je njegov mlađi brat poslan s izbjegličkim konvojem u Dansku i od njega ni traga ni glasa.

Dino krati vrijeme radeći kao čistač, čekajući poziv prijatelja Fahre (Muhamed Hadžović) s telefonske govornice na Gornjem gradu ili razgovarajući s piću sklonim bivšim braniteljem i slikarom Gogom (Sreten Mokrović). Gogo ga uči o Renoiru i aktera svoje nove slike, možda dijelom i samog Dina, uspoređuje s Raskoljnikovom, pitajući se “ima li Boga?” i “ono vječno pitanje o zločinu i kazni”.

Da bi kazaljke Dinova vremena mogle početi kucati, sugerira pojava cimerice Dore (Mihalić kao svojevrsna Sonja Marmeladova “Djece s CNN-a”) koja studira psihologiju, radi “noćnu” smjenu u hotelu i voli filmove, naročito one “s pucnjavom”, poput “Nikite”.

No, problem je što i ona skriva psihičke rane iz Vukovara, gdje joj još žive majka i sestra kojima financijski pomaže prostitucijom u hotelu, a Dinova trauma se podvostručuje kad dozna da mu je brat u Danskoj završio u zatvoru kao terorist jer su mu “neki ispirali mozak”.

Tu priča postaje fabularno preopterećena i pretenciozna: kao da nisu dovoljni Srebrenica i Vukovar, u dramsku jednadžbu se uvodi islamski terorizam i aludira se na 11. rujna 2001. godine. “Što je Srebrenica spram New Yorka?”, Dina pita misteriozni istražitelj u tumačenju Dragana Despota.

Filmu ne pomaže ni pomalo teška redateljska ruka izraženog kazališnog izričaja koji vapi za kamernom dinamizacijom i suviše podsjeća na devedesete u hrvatskoj kinematografiji, kad je režijska i glumačka izvedba bila podjednako teatarski kruta. Filmska predstava je gotova.

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Vikend s Amarom i Ivom

Amar Bukvić i Iva Mihalić glumili su zajedno i u nedavnom Netflixovom trileru "Vikend u Hrvatskoj". Igrali su policajce.

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StoryEditorOCM
Film & TVCINEMARK U KINU

‘Djeca sa CNN-a‘: Što je Srebrenica spram New Yorka?

Piše Marko Njegić
29. svibnja 2022. - 20:19
22183312
PREMIUM
Galerija

Nekih četiri i pol mjeseca, od početka prosinca 2021. do konca travnja ove godine, nije bilo hrvatskih filmova u široj kinodistribuciji, za razliku od srpskih (“Zlatni dečko”). A onda su u razmaku od tri tjedna čak dva filma stigla na repertoar kina, najprije “Razgovor” Dominika Sedlara i sada “Djeca sa CNN-a” Aide Bukvić, snimljena u koprodukciji s Bosnom i Hercegovinom.

Nažalost, kvaliteta baš i nije na strani ovih filmova, napose “Djece sa CNN-a”, ali hrvatska produkcija je barem poboljšala kvantitetu. ”Djeca sa CNN-a” rođena su u kazalištu, točnije Pozorištu mladih Sarajevo. U početku je, dakle, bila istoimena kazališna predstava iz koje se izrodio ovaj film.

Hvaljena kazališna predstava stvorena je 2005., napisao ju je Amir Bukvić, režirala njegov...

#CINEMARK#CINEMARK U KINU #HRVATSKI FILMOVI#BIH FILMOVI#AMAR BUKVIĆ#IVA MIHALIĆ
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