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Virtualna inačica 26. Sarajevo Film Festivala se približila kraju. SFF je u "5 do 12" prebačen iz normalne fizičke u "novo-(ne)normalnu" internetsku verziju kad je epidemiološka situacija počela polako izmicati kontroli u Sarajevu i BiH. O otkazivanju nije bilo govora da se novi regionalni filmovi i njihove premijere ne odgode.

Jedan od tih noviteta je film koji je premijerno otvorio SFF i za njega se u kućnom kinu traži "ulaznica" više – "Koncentriši se, baba" redatelja i scenarista Pjera Žalice. Statistike barataju brojkama od 14.000 ljudi koji su preko "on demand" platforme rentali i gledali novi Žaličin film u "online" varijanti SFF-a samo u prva dva sata od početka festivala, a o njemu se još priča na društvenim mrežama gdje se stvara nekakav virtualni festivalski "mingle" kad već izostaje onaj pravi "uživo".

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FILM: Koncentriši se, baba; komična drama; BiH, 2020. REŽIJA: Pjer Žalica ULOGE: Emir Hadžihafizbegović, Alma Prica OCJENA: *** ½

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Gledanost "Babe" ne treba čuditi: Žalica je jedan od najpostojanijih bosanskih/regionalnih autora ("Gori vatra", "Kod amidže Idriza", "Orkestar"; scenariji za "Savršen krug" i "Žabu"), a okupio je odličnu glumačku ekipu s ovih prostora (Emir Hadžihafizbegović, Alma Prica, Mira Banjac, Jadranka Đokić, Izudin Bajrović, Admir Glamočak, Jasna Žalica...). Film pršti živim, fizičkim interakcijama glumaca kao da time nadoknađuje virtualni moment festivala preseljenog u digitalni oblik i u neku ruku djeluje kao (filmsko) kazalište u kući.

Više teatarski nego teatralan, "Koncentriši se, baba" je prije svega film dobre koreografije glumaca, tj. sinergije teksta i glume, pa tek onda režije, ali s prepoznatljivim Žaličinim rukopisom u ulozi scenarista i režisera, rječju autora. U prijašnjim filmovima, režiranim na tankoj niti drame i (tragi)komedije, Žalica se bavio (po)ratnim traumama iz perspektive malih ljudi i(z) jedne obitelji ("Gori vatra", "Kod amidže Idriza") i kronicirao raspad Jugoslavije (dokumentarac o Plavom orkestru).

Pokazao je i osjećaj za prostornu "kazališnu" svedenost drame ("Kod amidže Idriza", "Žaba") koju potencira "Koncentriši se, baba". Gotovo čitav film se odigrava u interijerima jedne kuće s tek povremenim iskoracima napolje, u dvorište i bližu okolicu. Interijeri odgovaraju Žaličinoj "internoj" viziji jedne familije preko koje metaforički prelama raspad Jugoslavije.

Članovi šire obitelji raznih nacionalnosti, raspršeni diljem ex-YU gradova i republika, nalaze se u prvom planu. Oni se okupljaju u Sarajevu u proljeće 1992., netom pred početak rata u BiH kako bi posjetili titularnu babu (Banjac) na samrti i vidjeli je prije nego što umre, ali i doznali kako stoje u "testamentu", tj. oporuci buduće pokojnice.

U prvoj sceni baba izgleda kao da je već izdahnula, no to je lažna uzbuna slično "Oscaru" s umirućim Kirkom Douglasom. Scena postavlja temelje politički alegorična filma s tragikomičnim opuštanjima teške drame ("baba na baterije") i u formi ponavljajućih verbalnih gegova ("Eto ga, to je to").

Kuća će postati neka vrsta rovovske verbalne bitke, sukladno rovovima koji se "kopaju iznad Sarajeva" ("pola naši, pola njihovi") i navješćuju da "dolazi rat, krv". Obiteljske svađe, političke razmirice, potpirivanje vatre, spletkarenje i krvljenje, sitni i krupni interesi, zabijanje nož(ev)a u leđa, sve zbog nasljedstva, odvijaju se u četiri zida "lude" kuće i otkrivaju lica i naličja familije i Jugoslavije.

Pretresa se bliža/dalja povijest obitelji i čitavog društva, od Golog otoka do Vukovara i Dubrovnika, sijevaju idealistične ("Svugdje može biti rata osim u Sarajevu"), pametne ("Za rat je dovoljno pola budale"), crnohumorne ("Ajmo je ranit, tek toliko da je prime u bolnicu") i paprene izjave ("Franjo Tuđman rastura Jugoslaviju").

Povremeno Žaličino "kazalište u kući" ima praznih hodova i prijeti repetitivnošću, ali uglavnom pogađa bit i "Skoncentriši se, baba" u najboljim dijelovima djeluje kao dramska tragikomedija i politička alegorija koju bi mogao potpisati Dušan Kovačević ("Ko to tamo peva", "Maratonci trče počasni krug"). Obiteljska dinamika i situacija iz "Babe" znade podsjetiti na "maratonce" Topaloviće, a kuća je kao bus "Ko to tamo peva". Bivša Jugoslavija u malom.

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Dizač prosjeka BiH kinematografije

Pjer Žalica nije dobacio do Oscara kao Danis Tanović ("Ničija zemlja"), ni Zlatnog medvjeda poput Jasmile Žbanić ("Grbavica), ali njegova je filmografija diže prosjek novomilenijskoj BiH kinematografiji. Prvi dojmovi "Babe" su mahom zasluženo povoljni, premda raja prigovara zbog još jednog BiH filma vezanog za rat, što su česti prigovori i na hrvatska ostvarenja.

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Virtualna inačica 26. Sarajevo Film Festivala se približila kraju. SFF je u "5 do 12" prebačen iz normalne fizičke u "novo-(ne)normalnu" internetsku verziju kad je epidemiološka situacija počela polako izmicati kontroli u Sarajevu i BiH. O otkazivanju nije bilo govora da se novi regionalni filmovi i njihove premijere ne odgode.

Jedan od tih noviteta je film koji je premijerno otvorio SFF i za njega se u kućnom kinu traži "ulaznica" više – "Koncentriši se, baba" redatelja i scenarista Pjera Žalice. Statistike barataju brojkama od 14.000 ljudi koji su preko "on demand" platforme rentali i gledali novi Žaličin film u "online" varijanti SFF-a samo u prva dva sata od početka festivala, a o njemu se još priča na društvenim mrežama gdje se stvara nekakav virtualni festivalski "mingle" kad već izostaje onaj pravi "uživo".

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FILM: Koncentriši se, baba; komična drama; BiH, 2020. REŽIJA: Pjer Žalica ULOGE: Emir Hadžihafizbegović, Alma Prica OCJENA: *** ½

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Gledanost "Babe" ne treba čuditi: Žalica je jedan od najpostojanijih bosanskih/regionalnih autora ("Gori vatra", "Kod amidže Idriza", "Orkestar"; scenariji za "Savršen krug" i "Žabu"), a okupio je odličnu glumačku ekipu s ovih prostora (Emir Hadžihafizbegović, Alma Prica, Mira Banjac, Jadranka Đokić, Izudin Bajrović, Admir Glamočak, Jasna Žalica...). Film pršti živim, fizičkim interakcijama glumaca kao da time nadoknađuje virtualni moment festivala preseljenog u digitalni oblik i u neku ruku djeluje kao (filmsko) kazalište u kući.

Više teatarski nego teatralan, "Koncentriši se, baba" je prije svega film dobre koreografije glumaca, tj. sinergije teksta i glume, pa tek onda režije, ali s prepoznatljivim Žaličinim rukopisom u ulozi scenarista i režisera, rječju autora. U prijašnjim filmovima, režiranim na tankoj niti drame i (tragi)komedije, Žalica se bavio (po)ratnim traumama iz perspektive malih ljudi i(z) jedne obitelji ("Gori vatra", "Kod amidže Idriza") i kronicirao raspad Jugoslavije (dokumentarac o Plavom orkestru).

Pokazao je i osjećaj za prostornu "kazališnu" svedenost drame ("Kod amidže Idriza", "Žaba") koju potencira "Koncentriši se, baba". Gotovo čitav film se odigrava u interijerima jedne kuće s tek povremenim iskoracima napolje, u dvorište i bližu okolicu. Interijeri odgovaraju Žaličinoj "internoj" viziji jedne familije preko koje metaforički prelama raspad Jugoslavije.

Članovi šire obitelji raznih nacionalnosti, raspršeni diljem ex-YU gradova i republika, nalaze se u prvom planu. Oni se okupljaju u Sarajevu u proljeće 1992., netom pred početak rata u BiH kako bi posjetili titularnu babu (Banjac) na samrti i vidjeli je prije nego što umre, ali i doznali kako stoje u "testamentu", tj. oporuci buduće pokojnice.

U prvoj sceni baba izgleda kao da je već izdahnula, no to je lažna uzbuna slično "Oscaru" s umirućim Kirkom Douglasom. Scena postavlja temelje politički alegorična filma s tragikomičnim opuštanjima teške drame ("baba na baterije") i u formi ponavljajućih verbalnih gegova ("Eto ga, to je to").

Kuća će postati neka vrsta rovovske verbalne bitke, sukladno rovovima koji se "kopaju iznad Sarajeva" ("pola naši, pola njihovi") i navješćuju da "dolazi rat, krv". Obiteljske svađe, političke razmirice, potpirivanje vatre, spletkarenje i krvljenje, sitni i krupni interesi, zabijanje nož(ev)a u leđa, sve zbog nasljedstva, odvijaju se u četiri zida "lude" kuće i otkrivaju lica i naličja familije i Jugoslavije.

Pretresa se bliža/dalja povijest obitelji i čitavog društva, od Golog otoka do Vukovara i Dubrovnika, sijevaju idealistične ("Svugdje može biti rata osim u Sarajevu"), pametne ("Za rat je dovoljno pola budale"), crnohumorne ("Ajmo je ranit, tek toliko da je prime u bolnicu") i paprene izjave ("Franjo Tuđman rastura Jugoslaviju").

Povremeno Žaličino "kazalište u kući" ima praznih hodova i prijeti repetitivnošću, ali uglavnom pogađa bit i "Skoncentriši se, baba" u najboljim dijelovima djeluje kao dramska tragikomedija i politička alegorija koju bi mogao potpisati Dušan Kovačević ("Ko to tamo peva", "Maratonci trče počasni krug"). Obiteljska dinamika i situacija iz "Babe" znade podsjetiti na "maratonce" Topaloviće, a kuća je kao bus "Ko to tamo peva". Bivša Jugoslavija u malom.

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Dizač prosjeka BiH kinematografije

Pjer Žalica nije dobacio do Oscara kao Danis Tanović ("Ničija zemlja"), ni Zlatnog medvjeda poput Jasmile Žbanić ("Grbavica), ali njegova je filmografija diže prosjek novomilenijskoj BiH kinematografiji. Prvi dojmovi "Babe" su mahom zasluženo povoljni, premda raja prigovara zbog još jednog BiH filma vezanog za rat, što su česti prigovori i na hrvatska ostvarenja.

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StoryEditorOCM
Film & TVCINEMARK NA FESTIVALU

KONCENTRIŠI SE, BABA Familija gori, a baba se češlja

Piše Marko Njegić
20. kolovoza 2020. - 22:47
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Virtualna inačica 26. Sarajevo Film Festivala se približila kraju. SFF je u "5 do 12" prebačen iz normalne fizičke u "novo-(ne)normalnu" internetsku verziju kad je epidemiološka situacija počela polako izmicati kontroli u Sarajevu i BiH. O otkazivanju nije bilo govora da se novi regionalni filmovi i njihove premijere ne odgode.

Jedan od tih noviteta je film koji je premijerno otvorio SFF i za njega se u kućnom kinu traži "ulaznica" više – "Koncentriši se, baba" redatelja i scenarista Pjera Žalice. Statistike barataju brojkama od 14.000 ljudi koji su preko "on demand" platforme rentali i gledali novi Žaličin film u "online" varijanti SFF-a samo u prva dva sata od početka festivala, a o njemu se još priča na društvenim mrežama gdje se stvara nekakav virtualni festivalski "ming...

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