Director:
Petr MarekReparto:
Johana Ožvold, Radek Rubáš, Marian Moštík, Kamila Davidová, Marta Pilařová, Gerard Hudeček, Jiří Najvert, Petr Marek, Jiří Nezhyba, Prokop HoloubekSinopsis(1)
An ironic comedy about the boundless tolerance of the current thirty-something generation. A young couple arrive incognito at the foundation meeting of a non-profit organizaion for people who were adopted in childhood, aimed at the promotion of adoption in society as a whole. Neither of them were actually adopted themselves, but since they are considering adopting a child they want to see first-hand what influence such an experience can have on an individual. Over the course of several days (spent in a camping site named Jordán where the meeting is taking place) it gradually emerges that they are not the only ones hiding their true motivations. The situation gets out of hand, forcing everyone to improvise and to take on roles they are ill-fitted to adopt. Whether these are the roles of self-proclaimed leader, femme fatale, rebel, ingénue, or soul-searching paedophile, prompted by a specific and centrifugal sense of drama, each reveals their motivation and their secret, thus unleashing further bizarre and comical situations. (texto oficial de la distribuidora)
(más)Reseñas (1)
No and no and no. I respect the aesthetic of awkwardness, I respect the rawness of Dogme 95, I acknowledge the social criticism, but I don't acknowledge Marek, who uses all of this as a cheap alibi. The film felt superficial to me in every way - I didn't believe the characters, even the best situations seemed to me to have been killed by some overwrought and artificial theatrical gesture, and I was irritated by the affected Baroque accompaniment of scenes that would say nothing or little without it... I was also struggling with the aftertaste of the Zaum that ruins it all. The film felt like carefully staged "verism" to me, and as a result, it missed the mark for me so desperately and upset me that it stopped me in my tracks. Does no one find it surprising that laughter is mainly aroused by characters who are typically "Czech" idiots and those who are apparently mentally deranged - that is, cruelly easy targets? (a guy who suffers from a pathological delusion - probably an ugly dependence on his mother - and a guy who has such low social intelligence that when he's mistakenly accused of pedophilia, he defends himself by pretending to be a pedophile). In theory, Nothing Against Nothing is exactly what I am missing in Czech cinema - but the disillusionment is even worse. I simply trust the bitter Sedláček more than Marek, who, in my opinion, is mischievously hiding behind deliberate dilettanteism and yet says nothing more than what we already know - that democracy is failing on egoism, selfishness and limitations. I find it a bit hasty to wave for this camping theatre named for the classics.
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