{"id":8386,"date":"2023-09-06T18:57:45","date_gmt":"2023-09-06T15:57:45","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=8386"},"modified":"2023-09-06T18:57:51","modified_gmt":"2023-09-06T15:57:51","slug":"prietenie","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=8386","title":{"rendered":"Prietenie"},"content":{"rendered":"
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Close<\/em> (regia: Lukas Dhont, 2022)<\/figcaption><\/figure>\n<\/div>\n\n\n

Ce \u00eenseamn\u0103 prietenia la v\u00e2rsta de 12-13 ani? Cum se schimb\u0103 rela\u021biile dintre oameni odat\u0103 cu timpul?<\/p>\n\n\n\n

Prietenia presupune un sentiment de simpatie, de stim\u0103, dar \u0219i de ata\u0219ament reciproc care leag\u0103 dou\u0103 persoane, pe baza unor sentimente de apartenen\u021b\u0103. Cele mai puternice prietenii le leg\u0103m la v\u00e2rste mici, adesea \u00een \u0219coal\u0103, pornind de la afinit\u0103\u021bi comune, interese \u0219i pasiuni.<\/p>\n\n\n\n

Close<\/em>, cel mai recent film al t\u00e2n\u0103rului regizor belgian Lukas Dhont, porne\u0219te de la o experien\u021b\u0103 autobiografic\u0103, redimension\u00e2nd valoarea prieteniei: \u00eei iese, astfel, un film despre adolescen\u021b\u0103 \u0219i responsabilitate, despre curiozit\u0103\u021bi \u0219i naivit\u0103\u021bi, despre libertatea de a juca orice rol, dar \u0219i despre suferin\u021b\u0103 \u0219i e\u0219ec. La o \u0219coal\u0103 de stat, am zice c\u0103, \u00een general, copiii sunt prieteno\u0219i unii cu al\u021bii, dar filmul fagociteaz\u0103 f\u0103r\u0103 mil\u0103 pe oricine le este exterior, care nu \u00eemp\u0103rt\u0103\u0219e\u0219te principiile grupului ori se comport\u0103 imprevizibil. Prietenia dintre doi b\u0103ie\u021bi \u2013 L\u00e9o \u0219i R\u00e9mi \u2013 este \u00eentrerupt\u0103 brusc, iar bornele unei asemenea rupturi nu le dibuim dec\u00e2t prea t\u00e2rziu, c\u00e2nd povestea alunec\u0103 spre co\u0219maresc.<\/p>\n\n\n\n

Regizorul \u0219i scenaristul belgian Lukas Dhont \u0219i-a \u00eenceput cariera cinematografic\u0103 cu drama Girl <\/em>(2018), inspir\u00e2ndu-se din biografia balerinei transgender Nora Monsecour. Debutul s\u0103u a fost bine primit la Cannes Film Festival, unde a primit premiul Cam\u00e9ra D\u2019Or, dar \u0219i distinc\u021bia Queer Palm. Deopotriv\u0103, a c\u00e2\u0219tigat \u0219i premiul Andr\u00e9 Cavens pentru cel mai bun film, premiu oferit de Asocia\u021bia Criticilor belgieni de film. Cel de-al doilea film al lui Dhont, Close <\/em>(2022), plec\u00e2nd de la o experien\u021b\u0103 autobiografic\u0103, le aduce \u00eempreun\u0103 pe \u00c9milie Dequenne \u0219i pe L\u00e9a Drucker, fiind premiat la Cannes al\u0103turi de Stars at Noon<\/em> (\u00een regia lui Claire Denis). Totodat\u0103, cel de-al doilea film al lui Dhont a fost premiat la Sydney, \u00een iunie 2022, ob\u021bin\u00e2nd distinc\u021bia pentru cel mai bun film.<\/p>\n\n\n\n

Dac\u0103 \u00een Girl<\/em>, regizorul \u00ee\u0219i canalizeaz\u0103 aten\u021bia \u00eenspre Lara, o fat\u0103 transgender<\/em> care aspir\u0103 s\u0103 devin\u0103 balerin\u0103 (sup\u0103rat\u0103, de altfel, c\u0103 terapia hormonal\u0103 nu este at\u00e2t de rapid\u0103 pe c\u00e2t \u00ee\u0219i dorea, iar corpul s\u0103u este diferit de al celorlalte colege dansatoare), \u00een Close<\/em>, dimensiunea apropierii dintre cei doi b\u0103ie\u021bi dezv\u0103luie limitele prieteniei, dar \u0219i ale unei societ\u0103\u021bi mai conservatoare \u0219i mai repudiante dec\u00e2t o credeam. Girl<\/em> a fost criticat de comunitatea transgender pentru \u201ederanjanta fascina\u021bie pentru corpurile trans\u201d; \u00een unele scene, camera de filmat \u00eent\u00e2rzie pe pubisul Larei. \u00cen plus, Lukas Dhont a realizat dou\u0103 scurtmetraje mai importante \u2013 L\u2019Infini<\/em> (2014) \u0219i Corps perdu<\/em> (2012) \u2013 surprinz\u00e2nd personaje a c\u0103ror putere de fascina\u021bie este amplificat\u0103 de povestea din jurul lor.<\/p>\n\n\n\n

Regizat de Dhont (care semneaz\u0103 scenariul al\u0103turi de Angelo Tijssens), Close<\/em> \u00eei aduce \u00eempreun\u0103 pe Eden Dambrine, pe care l-am mai putut urm\u0103ri \u00een seriile TV L\u2019Invit\u00e9<\/em> (2000) \u0219i \u00een On est en direct<\/em> (2020), dar abia cu pelicula belgian\u0103 \u00ee\u0219i face debutul pe marele ecran. Totodat\u0103, \u00een rolul lui R\u00e9mi, \u00eel reg\u0103sim pe Gustav de Waele, model \u0219i actor de origine britanic\u0103.<\/p>\n\n\n\n

At\u00e2t Leo, c\u00e2t \u0219i Remi au o naturale\u021be care \u00eei particularizeaz\u0103, le amplific\u0103 aura de copii-\u00eengeri \u00eentr-o Belgie rural\u0103, \u00een care exist\u0103 nenum\u0103rate prejudec\u0103\u021bi. Str\u0103duindu-se s\u0103 \u00een\u021beleag\u0103 resorturile rupturii intempestive \u00eentre cei doi, Sophie, mama lui R\u00e9mi, devine o metafor\u0103 a tandre\u021bii \u0219i a pruden\u021bei, fiind interpretat\u0103 de actri\u021ba de origine wallon\u0103 \u00c9milie Dequenne, pe care o recunoa\u0219tem din Rosetta<\/em> (rol ce i-a adus un trofeu la Cannes pentru cea mai bun\u0103 actri\u021b\u0103 \u00een 1999), Brotherhood of the Wolf<\/em> (2001) \u0219i Our Children<\/em> (2012). C\u00e2ndva, copil\u0103ria lui L\u00e9o \u0219i a lui R\u00e9mi s-a aflat sub protectoratul prieteniei \u0219i al libert\u0103\u021bii, al paradisului \u0219i al lipsei de griji.<\/p>\n\n\n\n

Rela\u021bia dintre cei doi b\u0103ie\u021bi este aparent problematic\u0103 \u2013 regizorul nu face dec\u00e2t s\u0103 sugereze c\u00e2t de mult \u021bin cei doi unul la altul, p\u00e2n\u0103 c\u00e2nd insinu\u0103rile celor de-o seam\u0103 cu ei maculeaz\u0103 puritatea prieteniei lor.<\/p>\n","protected":false},"excerpt":{"rendered":"

Rubrica Cinemascop de Irina-Roxana Georgescu<\/p>\n","protected":false},"author":21,"featured_media":8387,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[62],"tags":[406,142,141,1812],"coauthors":[1223],"class_list":["post-8386","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cinemascop","tag-arte","tag-cinemascop","tag-irina-roxana-georgescu","tag-nr-5-2023"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2023\/09\/Close.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/8386","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=8386"}],"version-history":[{"count":1,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/8386\/revisions"}],"predecessor-version":[{"id":8389,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/8386\/revisions\/8389"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/8387"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=8386"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=8386"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=8386"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=8386"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}