{"id":15417,"date":"2026-05-07T10:26:51","date_gmt":"2026-05-07T07:26:51","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=15417"},"modified":"2026-05-07T10:27:53","modified_gmt":"2026-05-07T07:27:53","slug":"schimburi-ilegale","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=15417","title":{"rendered":"Schimburi ilegale"},"content":{"rendered":"
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Deux personnes \u00e9changeant de la salive<\/em> (regia: Natalie Musteata, Alexandre Singh, 2024)<\/figcaption><\/figure>\n<\/div>\n\n\n

Scurtmetrajul regizat de Natalie Musteata \u0219i Alexandre Singh, Deux personnes \u00e9changeant de la salive<\/em> (2024) restituie o lume dezumanizant\u0103, \u00een care s\u0103rutul este interzis \u2013 to\u021bi se tem s\u0103 pronun\u021be p\u00e2n\u0103 \u0219i cuv\u00e2ntul, chiar \u00een intimitatea propriei locuin\u021be, iar consumul compulsiv devine expiator. Totu\u0219i, se petrece o \u00eent\u00e2lnire salvatoare dintre o t\u00e2n\u0103r\u0103 v\u00e2nz\u0103toare (care abia \u00eempline\u0219te 25 de ani \u0219i doar c\u00e2te zile de c\u00e2nd e angajata marelui complex comercial \u00een care cump\u0103r\u0103torii sunt a\u0219tepta\u021bi cu un pahar de prosecco), pe nume Malaise, al c\u0103rei rol este interpretat admirabil de actri\u021ba \u0219i regizoarea de origine kosovar\u0103 Lu\u00e0na Bajrami \u0219i o t\u00e2n\u0103r\u0103 so\u021bie, de o distinc\u021bie particular\u0103, locuit\u0103 \u00eens\u0103 de o mare nefericire, numit\u0103 Angine, interpretat\u0103 de actri\u021ba iranian\u0103 Zar Amir Ebrahimi, cunoscut\u0103 pentru regia filmului Tatami<\/em> (2023) \u0219i pentru rolurile din Shayda<\/em> (2023), film regizat de Noora Niasari \u0219i din Les Survivants<\/em> (2022), regizat de Guillaume Renusson. La r\u00e2ndul s\u0103u, Lu\u00e0na Bajrami a regizat Notre monde<\/em> (2023) \u0219i a jucat \u00een Portrait de la jeune fille en feu<\/em> (2019) \u0219i \u00een La Colline o\u00f9 rugissent les lionnes<\/em> (2021), pe cel din urm\u0103 \u0219i regiz\u00e2ndu-l.<\/p>\n\n\n\n

C\u00e2\u0219tig\u0103tor al unui Oscar pentru categoria scurtmetraj, Deux personnes \u00e9changeant de la salive<\/em> (2024) exprim\u0103 abera\u021biile unei lumi privite sub lup\u0103, \u00een care fiecare individ ajunge s\u0103 tr\u0103iasc\u0103 \u00een psihoz\u0103, \u00een mefien\u021b\u0103 absolut\u0103 \u0219i s\u0103 devin\u0103 tor\u021bionar pentru ceilal\u021bi. Respira\u021bia ur\u00e2t mirositoare e un indicator al respingerii celuilalt, o barier\u0103 olfactiv\u0103 care protejeaz\u0103 \u0219i ofer\u0103 siguran\u021b\u0103 \u00een fa\u021ba unei iminente elimin\u0103ri. Co\u0219ciugul \u2013 confec\u021bionat din carton \u2013 pare s\u0103 fie efectul profesionaliz\u0103rii unei meserii \u00een care se cere \u201eperfec\u021biune\u201d, \u00eentr-un mediu \u00een care nevoia de astfel de produse este exponen\u021bial\u0103 cu num\u0103rul celor care cedeaz\u0103 sub presiunea apropierii fizice de alt\u0103 persoan\u0103. Moartea este \u0219i ea cuantificat\u0103 \u0219i demonetizat\u0103, \u00een mod paradoxal, nu se mai pune pre\u021b pe nicio fiin\u021b\u0103 uman\u0103 \u2013 prin \u021bipetele inutile sufocate \u00een co\u0219ciugele care se plimb\u0103 \u00een ma\u0219ini spre un cimitir-r\u00e2p\u0103, \u00een care co\u0219ciugele stau aruncate unele peste altele, f\u0103r\u0103 ca memoria defunctului s\u0103 fie legat\u0103 de vreun monument funerar, iar \u00een acest ora\u0219-fantom\u0103, \u00een care pare s\u0103 nu se \u00eent\u00e2mple nimic \u00een afara cump\u0103r\u0103turilor cotidiene \u0219i a mor\u021bii, doar excesele consumeriste sunt r\u0103spl\u0103tite cu o doz\u0103 suplimentar\u0103 de serotonin\u0103, alimentat\u0103 de oferte tot mai atr\u0103g\u0103toare, de linii de produc\u021bie tot mai bine \u021bintite. Plata cu propria piele \u2013 de fapt, cu obrazul st\u00e2ng, aproape mereu \u00eenvine\u021bit \u2013 \u0219i, in extenso<\/em>, cu propria con\u0219tiin\u021b\u0103 este \u00eentre\u021binut\u0103 de oameni-fanto\u0219e lipsi\u021bi de orice rafinament sufletesc, \u00eentr-o continu\u0103 stare de alert\u0103, mereu la p\u00e2nd\u0103, supraveghea\u021bi ne\u00eencetat de to\u021bi ceilal\u021bi.<\/p>\n\n\n\n

Vigilen\u021ba devine pledoarie pentru dezumanizare \u0219i un pretext irefutabil pentru renun\u021barea deplin\u0103 la cel\u0103lalt, iar toate personajele se \u00eenscriu \u00eentr-o peremptorie curs\u0103 de \u0219oareci, eroi \u00eenvin\u0219i \u00eenc\u0103 de la \u00eenceput, supu\u0219i parc\u0103 unui experiment care nu se mai termin\u0103. Concentrarea maxim\u0103 a ac\u021biunii, de-a lungul c\u0103reia evolueaz\u0103 tipuri diferite de femei \u2013 Angine ilustreaz\u0103 o Julie d\u2019Aiglemont aproape resemnat\u0103 cu un mariaj plicticos, \u00een vreme ce Malaise, care abia \u00eempline\u0219te 25 de ani, obligat\u0103 s\u0103 lucreze \u00eentr-un aseptic magazin universal, devine prototipul tinere\u021bii eterne \u0219i dezangajate, deloc exuberante, totu\u0219i, care se preteaz\u0103 la jocuri simple, dar versatile, care \u00eei \u00eensufle\u021besc via\u021ba lui Angine, \u00eencremenit\u0103 \u00een cenu\u0219iul fiec\u0103rei zile. La antipod, P\u00e9tulante exprim\u0103 invidia, lipsa de empatie, dezumanizarea deplin\u0103, fiindc\u0103 e capabil\u0103 de tot ce e mai r\u0103u cu putin\u021b\u0103. \u00cen clipa \u00een care Malaise este luat\u0103 din magazin, P\u00e9tulante adopt\u0103 strategia de marketing necesar\u0103 pentru a supravie\u021bui. Vie\u021bile se consum\u0103, numai linia de produc\u021bie rezist\u0103.<\/p>\n\n\n\n

Scurtmetrajul constituie o critic\u0103 sever\u0103, categoric\u0103 la adresa consumerismului, dar \u0219i la adresa unei lumi care se oglinde\u0219te perfect \u00een fricile noastre tot mai bine articulate.<\/p>\n","protected":false},"excerpt":{"rendered":"

Cinemascop de Irina-Roxana Georgescu<\/p>\n","protected":false},"author":21,"featured_media":15418,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[51,62],"tags":[142,141,2796,2777],"coauthors":[1223],"class_list":["post-15417","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arte","category-cinemascop","tag-cinemascop","tag-irina-roxana-georgescu","tag-natalie-musteata","tag-nr-3-2026"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2026\/05\/deux-personnes.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/15417","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=15417"}],"version-history":[{"count":2,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/15417\/revisions"}],"predecessor-version":[{"id":15420,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/15417\/revisions\/15420"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/15418"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=15417"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=15417"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=15417"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=15417"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}