{"id":14538,"date":"2026-01-06T14:46:47","date_gmt":"2026-01-06T11:46:47","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=14538"},"modified":"2026-01-06T14:46:52","modified_gmt":"2026-01-06T11:46:52","slug":"non-lumea-lui-oliver-laxe","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=14538","title":{"rendered":"Non-lumea lui \u00d3liver Laxe"},"content":{"rendered":"
\n
\"\"
Sir\u0101t<\/em> (regia: \u00d3liver Laxe, 2025)<\/figcaption><\/figure>\n<\/div>\n\n\n

Regizorul franco-spaniol \u00d3liver Laxe restituie, prin Sir\u0101t<\/em>, un drum printr-un de\u0219ert apocaliptic, al marilor derute \u0219i neputin\u021be, al marilor pierderi \u0219i dezam\u0103giri. Un road-movie care acumuleaz\u0103 scene de groaz\u0103, Sir\u0101t<\/em> se joac\u0103 violent cu fricile oricui dintre noi. Amalgam de oameni deveni\u021bi f\u0103r\u0103 voie insurgen\u021bi ai unei lumi distopice, ce se bucur\u0103 de libertatea absolut\u0103 a muzicii, fie ea \u0219i disruptiv\u0103, acaparant\u0103, raverii par o inflorescen\u021b\u0103 uria\u0219\u0103 \u00een mijlocul de\u0219ertului. Muzica r\u0103zb\u0103t\u00e2nd p\u00e2n\u0103 h\u0103t, departe, din boxele neverosimil de puternice, invoc\u0103 umanitatea pierdut\u0103 \u0219i constituind un preambul pentru drumul din nordul Marocului spre sud, spre Mauritania. Travers\u00e2nd de\u0219ertul dr\u0103cesc, un fel de Mad Max postapocaliptic, populat cu convoaie militare, speculan\u021bi ori indivizi care nu pot vorbi \u00een nicio limb\u0103, unele scene apeleaz\u0103 la emo\u021bii facile pentru a restitui imagini dezumanizante, lacerante. Drumul prin mun\u021bi pare s\u0103 fie drumul prin Iad, un drog continuu al alien\u0103rii, dar \u0219i al obsesiei de a for\u021ba grani\u021bele, de a fi mereu \u00een mi\u0219care, fiindc\u0103 niciunul dintre personaje nu este fixat, to\u021bi sunt ni\u0219te nomazi care au l\u0103sat \u00een spate familii, cunoscu\u021bi \u0219i \u0219i-au \u00eennodat vie\u021bile at\u00e2t de str\u00e2ns \u00eenc\u00e2t fiecare clip\u0103 tr\u0103it\u0103 \u00eempreun\u0103 e, pentru ei, defini\u021bia libert\u0103\u021bii.<\/p>\n\n\n\n

Dincolo de for\u021ba irepresibil\u0103 a naturii \u0219i a spa\u021biilor necunoscute \u2013 e vorba, probabil, de Sahara Occidental\u0103, spa\u021biu disputat de Maroc \u0219i de Algeria \u2013 se aude muzica sp\u0103rg\u00e2ndu-\u021bi pl\u0103m\u00e2nii, se vede viermuiala de oameni dans\u00e2nd \u00een de\u0219ert, unde mi\u0219c\u0103rile dezarticulat se conjug\u0103 cu dansul nebunesc. Filmul lui Laxe poate fi redus la un cuv\u00e2nt: serotonin\u0103. \u0218i mai e \u0219i povestea unui tat\u0103 \u0219i a unui copil purt\u00e2nd portretul unei fete disp\u0103rute, despre care afl\u0103m c\u0103 plecase de bun\u0103voie de acas\u0103 \u00een urm\u0103 cu aproape jum\u0103tate de an. Obstina\u021bia celor doi de a o g\u0103si aduce tensiune suplimentar\u0103. Intuind c\u0103 fiica r\u0103t\u0103cit\u0103 se afl\u0103 la festivalul din sud, cei doi c\u0103l\u0103tori (tat\u0103 \u0219i fiu) hot\u0103r\u0103sc s\u0103 coboare spre Mauritania, travers\u00e2nd de\u0219ertul. C\u00e2nd se declar\u0103 stare de asediu, f\u0103r\u0103 s\u0103 fie numite cauzele, f\u0103r\u0103 s\u0103 se fac\u0103 trimitere la vreo \u00eemprejurare geopolitic\u0103, iar to\u021bi cet\u0103\u021benii Uniunii Europene trebuie s\u0103 se urce \u00een convoaie pentru propria siguran\u021b\u0103, \u00eencordarea cre\u0219te exponen\u021bial.<\/p>\n\n\n\n

Secven\u021ba care juxtapune solda\u021bii \u00eembr\u0103ca\u021bi \u00een uniform\u0103 \u0219i dansatorii raveri (de\u0219i armata \u00eei disperseaz\u0103, urc\u00e2ndu-i \u00een ma\u0219ini) devine pretext pentru fuga prin de\u0219ert, c\u00e2nd c\u00e2teva camioane se desprind de convoi \u0219i marcheaz\u0103 \u00eenceputul unei alte c\u0103l\u0103torii spre propria moarte. Chemarea la rug\u0103ciune la Mecca \u0219i mi\u0219carea de crisalid\u0103 a credincio\u0219ilor intr\u0103 \u00een contrast cu ritmul trepidant al camioanelor prin de\u0219ertul pe care \u00eel traverseaz\u0103 \u2013 totul e ritm, dar \u0219i dizarmonie, agresiune, dar \u0219i amor\u021bire a sim\u021burilor. C\u00e2nd raverii se \u00eentorc din drum pentru a-i lua \u0219i pe cei doi spanioli, tat\u0103 \u0219i fiu, al\u0103turi de c\u0103\u021belu\u0219a Pipa, care c\u0103l\u0103toresc cu o ma\u0219in\u0103 prea scund\u0103 \u0219i prea pu\u021bin echipat\u0103 pentru un drum prin de\u0219ert, pare c\u0103 vor reu\u0219i s\u0103 avanseze, numai c\u0103, r\u00e2nd pe r\u00e2nd, ma\u0219inile se \u00eempu\u021bineaz\u0103, dar \u0219i num\u0103rul c\u0103l\u0103torilor. Iar drumul continu\u0103 tot mai nebunesc prin mun\u021bii care otr\u0103ve\u0219te retina cu ro\u0219ul \u00eentunecat al rocilor. \u00cen\u0103l\u021bimile ame\u021bitoare de la care drume\u021bii privesc \u00een jos de la geamul ma\u0219inilor sunt o ademenire a neantului sau, cum zice unul dintre eroi, \u201eSf\u00e2r\u0219itul lumii e \u00eenceput de ceva vreme\u201d. Imaginea c\u0103derii \u00een abis a ma\u0219inii lui Luis (Sergi L\u00f3pez) cu singurul s\u0103u copil (interpretat de Bruno N\u00fa\u00f1ez Arjona), care asist\u0103 neputincios la propria moarte fiindc\u0103 o trage \u00een joac\u0103 probabil Pipa, c\u0103\u021belu\u0219a celor doi, e una dintre cele mai tulbur\u0103toare din film, de\u0219i \u0219tii c\u0103 scoate la suprafa\u021b\u0103 emo\u021bii imediate, puternice, prea facile. Copilul alunec\u0103 \u00een pr\u0103pastie \u2013 secven\u021ba echivaleaz\u0103 cu o cobor\u00e2re \u00een infern, \u0219i abia acum agonia tat\u0103lui \u00eencepe cu adev\u0103rat, iar de\u0219ertul ecraneaz\u0103 perfect imbecilitatea lui (de a-\u0219i fi l\u0103sat copilul nesupravegheat) \u0219i durerea infinit\u0103 (dup\u0103 ce \u0219i-a pierdut fiica, \u00ee\u0219i pierde definitiv \u0219i b\u0103iatul) \u00een soarele descuamant, lacerant, \u00een v\u00e2ntul pustiitor \u0219i indiferent la orice suferin\u021b\u0103. Apoi, din cele dou\u0103 ma\u0219ini r\u0103m\u00e2ne doar una, ca \u00eentr-un joc absurd \u0219i gratuit, fiindc\u0103 dansul e tot ce mai conteaz\u0103, muzica sufocant\u0103 \u0219i eliberatoare deopotriv\u0103, cu t\u0103lpile goale b\u0103t\u00e2nd nisipul, cu tatuajele ca o hart\u0103 subiectiv\u0103 a lumii prin care au trecut, dezv\u0103luind o istorie individual\u0103, un traseu al libert\u0103\u021bii \u0219i al indiferen\u021bei la pericole. Iar replica final\u0103 a lui Jade \u2013 \u201eD\u0103 muzica mai tare! S\u0103 bubuie!\u201d \u2013 devine mantra de sf\u00e2r\u0219it, fiindc\u0103 tocmai atunci explodeaz\u0103 o bomb\u0103, apoi \u00eenc\u0103 una. C\u0103l\u0103torii joac\u0103 \u0219ah cu propria via\u021b\u0103, fiindc\u0103 se g\u0103sesc pe un teren minat. \u00cen c\u00e2teva secunde, dansul macabru al lui Jade \u00eel ademene\u0219te \u0219i pe Tonin, care explodeaz\u0103, la r\u00e2ndul s\u0103u. C\u00e2nd Luis \u00eei \u00eengroap\u0103 pe Jade \u0219i Tonin \u0219i num\u0103rul c\u0103l\u0103torilor se \u00eempu\u021bineaz\u0103, singurul \u00eendemn r\u0103m\u00e2ne doar \u201es\u0103 treci f\u0103r\u0103 s\u0103 g\u00e2nde\u0219ti\u201d. Iar imaginea final\u0103 a celor dou\u0103 difuzoare r\u0103mase \u00een de\u0219ert (care capteaz\u0103 \u0219i sunetele din exterior) devine o m\u0103rturie a trecerii acestor oameni prin lume. Cea mai lini\u0219titoare imagine este cea a trenului cu refugia\u021bi beduiniza\u021bi care privesc fie \u00een zare, fie \u00een ceafa altor c\u0103l\u0103tori, g\u00e2ndindu-se, poate, c\u0103 dincolo de de\u0219ert nu mai e nimic altceva.<\/p>\n\n\n\n

Steff, Tonin, Jade, Bigui \u0219i Josh sunt actori amatori, ale c\u0103ror metehne fizice nu fac dec\u00e2t s\u0103 sporeasc\u0103 frumuse\u021bea imperfect\u0103 a lumii.<\/p>\n","protected":false},"excerpt":{"rendered":"

Cinemascop de Irina-Roxana Georgescu<\/p>\n","protected":false},"author":21,"featured_media":14539,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[51,62],"tags":[142,141,2644],"coauthors":[1223],"class_list":["post-14538","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arte","category-cinemascop","tag-cinemascop","tag-irina-roxana-georgescu","tag-nr-11-2025"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2026\/01\/Sirat.webp","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/14538","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/users\/21"}],"replies":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=14538"}],"version-history":[{"count":1,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/14538\/revisions"}],"predecessor-version":[{"id":14540,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/14538\/revisions\/14540"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/14539"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=14538"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=14538"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=14538"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=14538"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}