Křižáček
Director:
Václav KadrnkaCámara:
Jan Baset StřítežskýReparto:
Karel Roden, Aleš Bílík, Matouš John, Jiří Soukup, Michal Legíň, Jana Oľhová, Ivan Krúpa, Eliška Křenková, Tomáš Bambušek, Petr Cemper, Václav Kadrnka (más)Sinopsis(1)
The knight Bořek sets off on the trail of his missing son. Little Jan has run away from home, rushing after a dream, an illusion about the holy mission of children. His aging father searches for him in every possible way, trying to catch up with his son. But he arrives everywhere too late, finding only witnesses who say they have seen the boy. He manages to glean some scraps of information from them and tries to use them to piece together his son's fate. He even projects his lost son onto children he encounters on his journey. Gradually his image of the boy becomes more blurred; Bořek's state of mind starts to crumble and the landscape through which he travels ever onwards increasingly resembles his mental landscape. The only material evidence he finds are items associated with Jan: his little sword and christening coin. These are real clues but he is unable to assess them properly. In the end he is unable to distinguish between reality and a theatrical representation of the myth. (CinemArt)
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Reseñas (9)
Desde el punto de vista de un intento de un fresco cinematográfico artístico meditativo, cuya historia es más una parábola sobre la responsabilidad parental, Little Crusader no tiene precedentes en términos checos. Sin embargo, como película, tiene la oportunidad de capturar solo el lado visual, quizás la cámara y la interpretación de Roden, cuyo personaje un padre que busca a su hijo pierde la cabeza durante la película, y eso es todo. Su trama simple, desesperadamente vacía, inspirada en el poema épico de Jaroslav Vrchlický, es terriblemente estirada y sus escenas son tan excesivamente largas que simplemente es imposible no aburrirse. Extender el material de una media hora débil a tres veces la duración no es una buena idea, el arte cinematográfico no consiste automáticamente en la capacidad de los cineastas de filmar la elevación e inclinación de un puente levadizo solo para que tarde tres minutos en la película. Dos tercios de la película son tomas de un Roden lúgubre montando a caballo y el resto lo proporcionan niños con ramas de palmera, solo queda la necesidad del espectador de interpretar lo que ve en la pantalla y buscar diferentes significados. Los diálogos son, por supuesto, escasos, porque se suponía que esta road-movie de la cámara de los cruzados se contaba principalmente con imágenes, sin embargo no hay mucho de dónde escoger.
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Poesía cinematográfica con una bonita composición 4:3 (que en la imagen tiene solo lo necesario), creativas intercalaciones de dirección (uso del sonido de una ventana golpeando) y un final ambiguo que hará pensar al espectador. Narración lenta, prolongada, pero armoniosa y compacta. Exclusivo para los espectadores más exigentes, a los que encantan Tarkovsky o Tarr. P. S.: ¿Por qué no optaron por la imagen en blanco y negro? Un espectador corriente no irá a verla en ningún caso, y con el juego de luces y sombras podría haber agradado aún más a los interesados en este tipo de películas.
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The comparison of film to Plato’s Cave is quite fitting, but in the case of Little Crusader, it’s appropriate in the sense that the shadows come to life thanks to the fact that the audience itself is projected into them. Those who connect with their own parental anxieties at the beginning are ahead of the game. For others, the fundamental obstacle is the absolute vapidity of the characters and the lack of any tension that would spark viewers’ attention as in other, similarly stylised films. However, Kadrnka and co. placed in front of viewers several obstacles that can draw their interest to somewhere completely different. In practice, the film is rather more reminiscent of a happening, where it soon becomes more interesting and entertaining to not watch the screen, but to observe the screening room or try to tune in to the film and watch it only as a mechanical form. Little Crusader is not a flawless film, but it is good that it was made and that it got the grand prize at the Karlovy Vary International Film Festival. It invites us to recall the fundamental argument of the heated debates around genre production in Germany: Is it okay when ten imperfect genre films are made instead of a single excellent one? Yes, because cinema is not a collection of isolated exceptional works, but an entire interconnected world whose inhabitants stimulate each other.
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There was only one Vláčil, this doesn't even come close. It's not a pose to say that I really like slow-moving films with an emphasis on atmosphere, but this one wasn't atmospherically slow, just annoyingly slow, and in the first half it was visually like a production of the Brno Czech Television Studios, full of static declaiming dummies. Just the kind of post-revolutionary pseudo-art by a fresh FAMU graduate who thinks he’s the shit :o)
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The Little Crusader delivered what I expected. It satisfied me visually. And it brought a bit of the Middle Ages into Czech film, which never hurts. It’s just a pity that it was made in such an artsy way as in this movie. It is obvious that the ordinary consumerist audience will not be able to appreciate the Little Crusader’s approach. Slow pace of the narration, static shots, zero storyline… we get all of that in the Little Crusader. Despite that I still took a certain liking to it; perhaps it was the connection of the atmosphere and the music, which made me keep watching it and wait where next the creators will take me in Medieval Europe.
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