Трето Полувреме
Třetí poločas
Director:
Darko MitrevskiGuión:
Darko MitrevskiCámara:
Klaus FuxjägerMúsica:
Kiril DzajkovskiReparto:
Katarina Ivanovska, Sasko Kocev, Richard Sammel, Mitko Apostolovski, Rade Serbedzija, Emil Ruben, Igor Angelov, Toni Mihajlovski, Gorast Cvetkovski (más)Sinopsis(1)
Kosta, a member of the not very victorious Macedonian national team, falls in love with the daughter of a local Jewish businessman. Simultaneously, a new coach joins the team – a former football champion from Germany, Rudolph Spitz, who decides to tackle the difficult task: to turn the group of inexperienced players into a successful national team. Macedonia, afflicted by the Serbian occupation, follows the team's first victories with great excitement. The progressing world war, however, brings the Bulgarian army into Macedonia, and with it comes the Nazi ideology and anti-Jewish laws. The Macedonian-Czech historical drama was inspired by real events of the holocaust of the Macedonian Jews during the World War II. (Febiofest)
(más)Reseñas (2)
Tematicamente, la película sería más adecuada para el próximo fin de semana, pero tenía ganas de volver a ver cine balcánico después de un tiempo, además con una conexión checa. Una película muy hermosa sobre valores fundamentales y atemporales, que no ataca las emociones y no ofrece tantas escenas dolorosas, aunque el espectador se prepara de antemano para ellas. También me gustó el multilingüismo, a veces me perdí en qué idioma realmente estaba escuchando. Y no puedo evitar rendir homenaje a Katarina Ivanovske: si todas las modelos de Victoria's Secret tuvieran actuaciones como esta, nuestras películas estarían llenas de rostros hermosos y cuerpos exhibicionistas.
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The film wasn't bad, but it lacked something to make it stick in my mind. This is the second time I've seen it, and the only thing I vaguely remembered was the framing of the story by a reminiscing old lady, which is unfortunately one of the weaknesses of this film. I feel like it was grafted on unnecessarily. The Third Half would be a sufficient statement about football and the fates of people associated with it during World War II in Macedonia even without such a trick. However, if the purpose of the whole narrative was not meant to be romantic love, which, despite all the obstacles placed before it, transcends the ages. But then I don't understand why Darko Mitrevski used footage that was almost all football. (65%)
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