{"id":6615,"date":"2023-02-06T16:09:07","date_gmt":"2023-02-06T13:09:07","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=6615"},"modified":"2023-02-06T16:09:13","modified_gmt":"2023-02-06T13:09:13","slug":"cel-mai-bun-sef","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=6615","title":{"rendered":"Cel mai bun \u0219ef"},"content":{"rendered":"
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El buen patr\u00f3n<\/em> (regia: Fernando Le\u00f3n de Aranoa, 2021)<\/figcaption><\/figure>\n<\/div>\n\n\n

Regizor \u0219i scenarist, Fernando Le\u00f3n de Aranoa a debutat cu produc\u021bia franco-spaniol\u0103 Familia<\/em>, o comedie cu accente de dram\u0103 (1996), care i-a adus Premiul Goya pentru cel mai bun regizor. Al\u0103turi de Pedro Almod\u00f3var,  Aranoa a ob\u021binut p\u00e2n\u0103 acum cele mai multe premii Goya pentru cel mai bun regizor: cu Barrio<\/em> (1998), Los lunes al sol<\/em> (2002) \u0219i El buen patr\u00f3n<\/em> (2021), cel mai recent film al s\u0103u. Pelicula din 2015, A Perfect Day<\/em>, cu Benicio del Toro \u0219i Tim Robbins \u00een rolurile principale, a primit numeroase nominaliz\u0103ri \u0219i un premiu Goya pentru cel mai bun scenariu.<\/p>\n\n\n\n

\u00cen 2021, Fernando Le\u00f3n de Aranoa semneaz\u0103 regia la El buen patr\u00f3n<\/em>, cu Javier Bardem \u00een rolul principal, \u00een care surprinde cu mult\u0103 ironie mi\u0219carea personalului, obiectivele manageriale \u0219i echitatea muncii dintr-o fabric\u0103 de c\u00e2ntare. Munca \u00een fabrica de c\u00e2ntare este dovada unui box continuu cu termenele-limit\u0103, angaja\u021bi care solicit\u0103 m\u0103rirea salariilor, ritmul concuren\u021bial, utopia unei vie\u021bi mai bune. \u0218eful (Javier Bardem) ofer\u0103 daruri simbolice la desp\u0103r\u021birea de tinerele care, pentru o perioad\u0103 variabil\u0103, \u00ee\u0219i f\u0103cuser\u0103 ucenicia la fabrica de c\u00e2ntare \u201eBlancos\u201d, mo\u0219tenit\u0103 de la tat\u0103l s\u0103u. De altfel, \u201eexcelen\u021ba\u201d st\u0103 sub semnul perseveren\u021bei \u0219i al unei vigilen\u021be de care d\u0103 dovad\u0103 cu abnega\u021bie. Ceea ce \u00eel define\u0219te pe Blanco este \u201eechilibrul\u201d, care, uneori, se atinge doar dac\u0103 se \u00een\u0219al\u0103 c\u00e2ntarul. Blanco s-a n\u0103scut \u0219ef: a c\u0103p\u0103tat fabrica de c\u00e2ntare de la tat\u0103l s\u0103u, iar ordinele pe care emite sunt \u00een perfect acord cu demnitatea sa. Blanco func\u021bioneaz\u0103 perfect pe feuda sa, iar \u0219efia face parte din ADN-ul s\u0103u: to\u021bi ceilal\u021bi \u00eei apreciaz\u0103 deciziile (cu excep\u021bia celor care sunt demi\u0219i, desigur), farmecul managerial, consecven\u021ba administrativ\u0103, chiar generozitatea (oric\u00e2t de precar\u0103 ar fi). Carismaticul patron al unei mici fabrici de familie, Blanco urm\u0103re\u0219te s\u0103 ob\u021bin\u0103 premiul de excelen\u0163\u0103 oferit de comunitatea local\u0103. Un alt trofeu care \u00ee\u0219i are locul deja pe perete…<\/p>\n\n\n\n

Pe Miralles (Manolo Solo), \u0219eful \u00eel \u0219tie \u00eenc\u0103 din copil\u0103rie; \u00eemp\u0103r\u021biser\u0103 multe experien\u021be \u00eempreun\u0103, \u00eens\u0103 fiecare \u00ee\u0219i aminte\u0219te altfel de calit\u0103\u021bile celuilalt \u0219i, mai mult dec\u00e2t orice, fiecare pre\u021buie\u0219te diferit loialitatea celuilalt. Liliana (Almudena Amor) intr\u0103 ca angajat\u0103 temporar\u0103 \u00een fabrica de c\u00e2ntare \u0219i ajunge s\u0103 impun\u0103 o alt\u0103 ordine \u00een companie. Ulterior, afl\u0103m c\u0103 este fiica unuia dintre cunoscu\u021bii familiei, numai c\u0103 \u0219eful cade cu u\u0219urin\u021b\u0103 farmecelor tinerei (ca un<\/em> clin d\u2019oeil<\/em>, tatuajul s\u0103u cu balan\u021ba de pe ceaf\u0103), apoi intr\u0103, volens-nolens<\/em>, \u00eentr-un carusel al \u00eent\u00e2mpl\u0103rilor absurde.<\/p>\n\n\n\n

Jose (\u00d3scar de la Fuente) \u2013 angajatul care se campeaz\u0103 \u00een fa\u021ba fabricii de c\u00e2ntare \u201eBlancos\u201d al\u0103turi de copiii s\u0103i \u2013 surprinde imaginea celui care devine, de la o zi la alta, indezirabil, incapabil s\u0103 \u00ee\u0219i mai pl\u0103teasc\u0103 taxele ori s\u0103 \u021bin\u0103 \u00een echilibru via\u021ba de dinainte<\/em> de concediere \u0219i cea de dup\u0103<\/em>; mai mult dec\u00e2t at\u00e2t, revendic\u0103rile exagerate \u0219i asincrone, al\u0103turi de orgoliul nem\u0103surat \u00eei aduc sf\u00e2r\u0219itul.<\/p>\n\n\n\n

Un alt tip de angajat \u2013 \u00een logica politicii corecte \u2013 Khaled (Tarik Rmili) se ocup\u0103 de distribu\u021bie, chiar cu mai mult\u0103 responsabilitate dec\u00e2t Miralles (preocupat s\u0103 \u00ee\u0219i spioneze so\u021bia, \u0219i mai pu\u021bin s\u0103 \u00eei rec\u00e2\u0219tige \u00eencrederea); suntem p\u0103rta\u0219i, de altfel, la un adev\u0103rat triunghi conjugal, ale c\u0103rui reverbera\u021bii produc amuzament \u0219i ironie.<\/p>\n\n\n\n

Pentru c\u0103 \u00een Cel mai bun \u0219ef\/El buen patr\u00f3n<\/em>, rela\u021biile umane sunt marcate de futilitate, c\u0103sniciile se bazeaz\u0103 pe secrete, aranjamente \u0219i, mai ales, pe t\u0103ceri perfect sincronizate cu compromisurile pe care fiecare cuplu le are de f\u0103cut. Filmul devine o satir\u0103 despre \u00eencerc\u0103rile unui patron de a se implica \u00een vie\u021bile angaja\u021bilor s\u0103i, mai nuan\u021bat oricum \u00een atitudini, gesturi, p\u00e2n\u0103 \u0219i \u00een schimbul de replici dec\u00e2t Triunghiul triste\u021bii<\/em>, \u00een regia lui Ruben \u00d6stlund (2022), pelicula care a c\u00e2\u0219tigat Palme d\u2019Or anul acesta.<\/p>\n","protected":false},"excerpt":{"rendered":"

El buen patr\u00f3n, un film-satir\u0103 cu Javier Bardem<\/p>\n","protected":false},"author":21,"featured_media":6616,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[51,62],"tags":[142,1492,141,1491,1493],"coauthors":[1223],"class_list":["post-6615","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arte","category-cinemascop","tag-cinemascop","tag-el-buen-patron","tag-irina-roxana-georgescu","tag-javier-bardem","tag-nr-11-12-2022"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2023\/01\/El-buen-patron.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/6615","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=6615"}],"version-history":[{"count":1,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/6615\/revisions"}],"predecessor-version":[{"id":6619,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/6615\/revisions\/6619"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/6616"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6615"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=6615"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=6615"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=6615"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}