Líbánky
Director:
Jan HřebejkGuión:
Petr JarchovskýCámara:
Martin ŠtrbaMúsica:
Aleš BřezinaReparto:
Aňa Geislerová, Stanislav Majer, Jiří Černý, Kristýna Badinková Nováková, David Máj, Jiří Šesták, Jana Radojčičová, Matěj Zikán, Vlastimil Dušek (más)Sinopsis(1)
Psychological drama Honeymoon concludes a film trilogy – together with two previous Hrebejk's films Kawasaki's Rose and Innocence. The common theme of the three films is a reflection about guilt from past and the possibilities of forgiveness. The intimate story of Honeymoon takes place during one afternoon, night and next morning at a family cottage, where an uninvited guest disrupts a wedding celebration. The story is conceived as a metaphor for social (im)possibility of getting over a tragic past. (texto oficial de la distribuidora)
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Reseñas (9)
La película da la sensación de que sus autores estuvieran intentando hacer un thriller de clase B de los años 90, lo que no acaba de encajar con la poética de Hřebejk de personajes secundarios llenos de humor. La extraña mezcla de comedia y drama sobrevive gracias a la fotografía y a los grandes actores. Sin embargo, se echa en falta una historia sólida, una construcción argumental con sentido y, sobre todo, más determinación. Bastante decepcionante por una oportunidad perdida.
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Un drama tenso sobre la culpa, la responsabilidad y las sombras del pasado que un día nos alcanzarán. Psicológicamente precisa, con solo una/dos vacilaciones en el montaje (entiéndase momentos WTF). Dejándonos todo el tiempo en la incertidumbre dónde está la verdad, qué está adulterado y en qué medida y cuál malo es el villano o la víctima. Continuamente aliviada con simpatía por el personaje del marido de su hermana, que en la borrachera prefiere dormir en el cuarto de baño y no en la cama.
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Tak to byla síla a klidně se nerozpakuji Líbánky označit jako malou českou variaci na Vinterbergovu Rodinnou slavnost. První, co musím vyzdvihnout, je naprosto famózní kamera Martina Štrby, která je o to víc zdůrazněna nádhernou scenerií. Dále vynikající výkony Černého, Geislerové a Majera. A v neposlední řadě scénář a hudba. Nelíbila se mi asi jen závěrečná přílišná obrazová doslovnost. To však můj celkový názor nemůže změnit. Poslední tři Hřebejkovy filmy jsou jeden lepší než druhý, byt´ si z nich příliš pozitivního neodneseme. Jak já jsem ho dřív neměl rád, ale to spíše pro jeho arogantní názory, když Pelíšky zastínil v očích kritiků Návrat idiota. Ale jako režisér je opravdu vynikající. Jelikož jsem v Rubínu viděl Zakázané uvolnění, tak je mi jasné, že se máme na co těšit i v roce 2014. A zdejší hodnocení dost dobře nechápu, ale to nechápu u více českých filmů.
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This film is like Dogma with incredibly stupid descriptive monologues and one-liners like "we hid inside of each other". The only uncertainty in the film is when one of the characters goes from book recitations to wooden talk. Psychology? Ridiculous. Trier's final heist beyond the edge of everything. A fake game of an aestheticized tragedy, under which there is a black hole of persistent efforts to get inside the pathology of human relationships. It's not just that Jarchovsky's scenarios are excessive, unnatural and disintegrating (although they can theoretically reconstruct logical thematic units, contexts and intentions to shake the viewer), it's that Hřebejk chooses a senselessly pompous style instead of civility, which exacerbates the debility as a result. His films do not lack ambition and potentially a world look, but they do desperately lack the ability to get into characters in ways other than through visual and verbal explicitness. Sorry, but this fake offends me deeply. [30%]
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And here it goes again! Once again I came across a Czech movie that really knocked my socks off with how good it was, but when I came to Filmbooster what knocked my socks off were the other users here. The worst part is that from reading the czech reviews here, I didn’t find a single reason why Honeymoon should have gotten such a negative score. Where are all the bad reviews? In my opinion, Honeymoon is a pretty brutal psychological movie, which reminded me mostly of Scandinavian dramas. I admit that it could have been a lot more brutal, but on the other hand, everything is made up for by the excellent acting performances, where the actors make sure that you know what to think about their character. Other than Geislerová’s character, which seemed a bit unfinished to me after I saw the movie. But everything is made up for by the visual ending, which proves that the director of photography is the man. Honeymoon might be a chamber drama, but it has no problems mesmerizing you with its human roughness, which is something I don’t see in Czech movies very often to be honest.
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