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Tko bi rekao da je furioznu utrku konjskih zaprega iz nove verzije Ben-Hura i komorni film koji se sav događa na zaslonu kompjutora režirao isti čovjek? Timur Bekmambetov, rusko-kazački redatelj veliki je poklonik novih medija, što dokazuje njegov kibernetički triler 'Profil' iz predpandemijske 2018. Glavna platforma filma je razigrani desktop glavne junakinje na kojemu ima otvorenih prozora kao u omanjoj stambenoj zgradi. Novinarka Amy (Valene Kane), vješta korisnica društvenih mreža, istražuje radikalne islamiste koji vabe naivne mlade Europljanke i odvlače ih u pakao Sirije. Multitaskanjem stupa u kontakt s džihadistom Bilelom (Shazad Latif) i otpočinje riskantnu igru lažnih identiteta.

Bekmambetovljev film mnogo je jači na tehnološkoj, negoli na fabularnoj razini. Iako se radnja odvija 2014., u doba prije eksplozije novih aplikacija poput TikToka, za aktualnu publiku nema ničeg stranog ni zastarjelog na Amynu ekranu pa s lakoćom može pratiti zbivanja putem FaceTimea, Skypea, Facebooka, downloadiranja uznemirujućih videa...

Problemi, međutim, nastaju prelaskom u 'offline' zaplet koji previše pojednostavljuje fenomen ekstremizma i svodi ga na stereotip. Borci islamske države prikazani su kao zatucani razbijači, a jedan od njih, Amyein sugovornik Bilel, više odgovara opisu samodopadnog mačista negoli ogorčenog Britanca koji se zbog podrijetla i vjerskih uvjerenja upustio u 'sveti rat'.

Amyn odlazak u 'undercover' misiju ničim nije objašnjen. Unatoč površnosti suvremenih medija, ovdje infiltriranih u sedmu umjetnost, ipak bismo trebali znati je li u lov na islamiste otišla zbog slave, stalnog posla ili pak hororara za stanarinu? Uzgred, teško je vjerovati da bi ijedna ozbiljnija istraživačka novinarka tek trenutak prije uspostave prve video-veze s borcem Isisa na tražilici učila kako omotati hidžab ili na arapskom izreći pozdrav. Neobično je i kad se nepatvoreno začudi nazivu Kalašnjikova, antologijskog A-47 iz vojnih početnica.

Amynoj komunikaciji s Bilelom manjka sustavnosti, na momente se čini kao da s njim flertuje iz zabave, da bi se zatim kao ustrašena klinka povukla u seriji nervoznih ispada. Završnica filma donekle popravlja dojam, no opet zahvaljujući tehničkom, nikako pripovjednom dijelu. Zastrašujući nas obrat upozorava na opasnosti od zloporabe društvenih mreža, odakle je lako iščeprkati svaki privatni podatak za koji uludo vjerujemo da je zaštićen.

'Profil' je nastao po književnom predlošku, romanu 'U koži džihadista' Francuskinje Anne Erelle. Ako je suditi po afinitetu za nove medije, Bekmambetov će snimiti još koji desktop, smartphone ili smartwatch film trilerskog tipa. Nadajmo se da će u hodu poraditi i na boljoj profilaciji protagonista, korisnika gadgeta.

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Tko bi rekao da je furioznu utrku konjskih zaprega iz nove verzije Ben-Hura i komorni film koji se sav događa na zaslonu kompjutora režirao isti čovjek? Timur Bekmambetov, rusko-kazački redatelj veliki je poklonik novih medija, što dokazuje njegov kibernetički triler 'Profil' iz predpandemijske 2018. Glavna platforma filma je razigrani desktop glavne junakinje na kojemu ima otvorenih prozora kao u omanjoj stambenoj zgradi. Novinarka Amy (Valene Kane), vješta korisnica društvenih mreža, istražuje radikalne islamiste koji vabe naivne mlade Europljanke i odvlače ih u pakao Sirije. Multitaskanjem stupa u kontakt s džihadistom Bilelom (Shazad Latif) i otpočinje riskantnu igru lažnih identiteta.

Bekmambetovljev film mnogo je jači na tehnološkoj, negoli na fabularnoj razini. Iako se radnja odvija 2014., u doba prije eksplozije novih aplikacija poput TikToka, za aktualnu publiku nema ničeg stranog ni zastarjelog na Amynu ekranu pa s lakoćom može pratiti zbivanja putem FaceTimea, Skypea, Facebooka, downloadiranja uznemirujućih videa...

Problemi, međutim, nastaju prelaskom u 'offline' zaplet koji previše pojednostavljuje fenomen ekstremizma i svodi ga na stereotip. Borci islamske države prikazani su kao zatucani razbijači, a jedan od njih, Amyein sugovornik Bilel, više odgovara opisu samodopadnog mačista negoli ogorčenog Britanca koji se zbog podrijetla i vjerskih uvjerenja upustio u 'sveti rat'.

Amyn odlazak u 'undercover' misiju ničim nije objašnjen. Unatoč površnosti suvremenih medija, ovdje infiltriranih u sedmu umjetnost, ipak bismo trebali znati je li u lov na islamiste otišla zbog slave, stalnog posla ili pak hororara za stanarinu? Uzgred, teško je vjerovati da bi ijedna ozbiljnija istraživačka novinarka tek trenutak prije uspostave prve video-veze s borcem Isisa na tražilici učila kako omotati hidžab ili na arapskom izreći pozdrav. Neobično je i kad se nepatvoreno začudi nazivu Kalašnjikova, antologijskog A-47 iz vojnih početnica.

Amynoj komunikaciji s Bilelom manjka sustavnosti, na momente se čini kao da s njim flertuje iz zabave, da bi se zatim kao ustrašena klinka povukla u seriji nervoznih ispada. Završnica filma donekle popravlja dojam, no opet zahvaljujući tehničkom, nikako pripovjednom dijelu. Zastrašujući nas obrat upozorava na opasnosti od zloporabe društvenih mreža, odakle je lako iščeprkati svaki privatni podatak za koji uludo vjerujemo da je zaštićen.

'Profil' je nastao po književnom predlošku, romanu 'U koži džihadista' Francuskinje Anne Erelle. Ako je suditi po afinitetu za nove medije, Bekmambetov će snimiti još koji desktop, smartphone ili smartwatch film trilerskog tipa. Nadajmo se da će u hodu poraditi i na boljoj profilaciji protagonista, korisnika gadgeta.

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Ilustracija
Ilustracija
Triler snimljen na monitoru računala pokvario je slabašan scenarij
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PROFIL Triler o džihadistima s desktopa mnogo je jači na tehnološkoj, nego na fabularnoj razini. Glavni junaci bore se s predrasudama i uvjerljivošću

Piše Gabrijela Bijelić
12. lipnja 2021. - 10:05
Triler snimljen na monitoru računala pokvario je slabašan scenarij
Triler snimljen na monitoru računala pokvario je slabašan scenarijIlustracija

Tko bi rekao da je furioznu utrku konjskih zaprega iz nove verzije Ben-Hura i komorni film koji se sav događa na zaslonu kompjutora režirao isti čovjek? Timur Bekmambetov, rusko-kazački redatelj veliki je poklonik novih medija, što dokazuje njegov kibernetički triler 'Profil' iz predpandemijske 2018. Glavna platforma filma je razigrani desktop glavne junakinje na kojemu ima otvorenih prozora kao u omanjoj stambenoj zgradi. Novinarka Amy (Valene Kane), vješta korisnica društvenih mreža, istražuje radikalne islamiste koji vabe naivne mlade Europljanke i odvlače ih u pakao Sirije. Multitaskanjem stupa u kontakt s džihadistom Bilelom (Shazad Latif) i otpočinje riskantnu igru lažnih identiteta.

Bekmambetovljev film mnogo je jači na tehnološkoj, negoli na fabularnoj razini. Iako se radnja odvija 2014., u doba prije eksplozije novih aplikacija poput TikToka, za aktualnu publiku nema ničeg stranog ni zastarjelog na Amynu ekranu pa s lakoćom može pratiti zbivanja putem FaceTimea, Skypea, Facebooka, downloadiranja uznemirujućih videa...

Problemi, međutim, nastaju prelaskom u 'offline' zaplet koji previše pojednostavljuje fenomen ekstremizma i svodi ga na stereotip. Borci islamske države prikazani su kao zatucani razbijači, a jedan od njih, Amyein sugovornik Bilel, više odgovara opisu samodopadnog mačista negoli ogorčenog Britanca koji se zbog podrijetla i vjerskih uvjerenja upustio u 'sveti rat'.

Amyn odlazak u 'undercover' misiju ničim nije objašnjen. Unatoč površnosti suvremenih medija, ovdje infiltriranih u sedmu umjetnost, ipak bismo trebali znati je li u lov na islamiste otišla zbog slave, stalnog posla ili pak hororara za stanarinu? Uzgred, teško je vjerovati da bi ijedna ozbiljnija istraživačka novinarka tek trenutak prije uspostave prve video-veze s borcem Isisa na tražilici učila kako omotati hidžab ili na arapskom izreći pozdrav. Neobično je i kad se nepatvoreno začudi nazivu Kalašnjikova, antologijskog A-47 iz vojnih početnica.

Amynoj komunikaciji s Bilelom manjka sustavnosti, na momente se čini kao da s njim flertuje iz zabave, da bi se zatim kao ustrašena klinka povukla u seriji nervoznih ispada. Završnica filma donekle popravlja dojam, no opet zahvaljujući tehničkom, nikako pripovjednom dijelu. Zastrašujući nas obrat upozorava na opasnosti od zloporabe društvenih mreža, odakle je lako iščeprkati svaki privatni podatak za koji uludo vjerujemo da je zaštićen.

'Profil' je nastao po književnom predlošku, romanu 'U koži džihadista' Francuskinje Anne Erelle. Ako je suditi po afinitetu za nove medije, Bekmambetov će snimiti još koji desktop, smartphone ili smartwatch film trilerskog tipa. Nadajmo se da će u hodu poraditi i na boljoj profilaciji protagonista, korisnika gadgeta.

#KINEMATOGRAFI DUBROVNIK#PROFIL
18. svibanj 2024 18:32