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Pojava filma "Seks, laži i videovrpce" ("Sex, Lies, and Videotape", 1989.) na izmaku osamdesetih označila je prekretnicu za američku nezavisnu kinematografiju i potpalila fitilj za eksploziju "indie" ostvarenja u devedesetima. Nezavisnjački prvijenac tada 29-godišnjeg Stevena Soderbergha, budućeg oskarovca i hitmejkera ("Erin Brockovich", "Traffic", "Daleko od očiju", "Oceanovih 11-13"), koštao je svega 1.2 milijuna dolara i osvojio je Zlatnu palmu u Cannesu u konkurenciji s jednim "Cinema Paradisom", kao i nagradu za najboljeg glumca Jamesa Spadera.

Pobjeda filma "Seks, laži i videovrpce" stigla je kao potvrda snage američke nezavisne scene osamdesetih na čelu s Jimom Jarmuschom (iste godine u Cannesu se natjecao s "Mystery Train", kao i Spike Lee s "Do The Right Thing"), ali i bila vjesnik stvari koje dolaze. Canneski žiri, predvođen predsjednikom Wimom Wendersom ("Pariz, Teksas"), prepoznao je vrijednost i unikatnost provokativno naslovljenog Soderberghovog debija.

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FILM: Sex, Lies, and Videotape; drama; SAD, 1989. REŽIJA: Steven Soderbergh ULOGE: James Spader, Andie Macdowell OCJENA: *****

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Stvarno, "Sex, Lies, and Videotape" bio je drukčiji od svega što se tada snimalo u američkoj kinematografiji i alternativa dominantnom komercijalnom, visokoproračunskom "mainstream" Hollywoodu, u tom razdoblju napučenom prestižim oskarovskim filmovima, mišićavim herojima i erotiziranim glumicama. Niskobudžetan i nekomercijalan, artistički, karakterno i konverzacijski nastrojen, gotovo dokumentaristički, pa i metafilmski u pristupu generacijskoj drami za zreliju publiku.

Razlika je drastična između, primjerice, srednjestrujaške generacijske drame za odrasle "Velika jeza" Lawrencea Kasdana s početka osamdesetih i Soderberghova filma na isteku dekade. "Seks, laži i videovrpce" je najavio neko novo razdoblje subverzivnijih i direktnijih egzistencijalnih meditativnih drama s usamljenim, otuđenim likovima (npr. "Ledena oluja", "Vrtlog života"...).

Subverzija je istaknuta i u provokativnom naslovu filma: "Sex, Lies, and Videotape" sugerira nešto seksualno i erotsko, naročito u periodu kad su erotične drame i trileri bili u velikom uzletu ("Odjevena da ubije", "Tjelesna strast", "Poštar uvijek zvoni dvaput", "Devet i pol tjedana", "Kobna privlačnost", "More ljubavi"). Kad ono, od seksa jedva "s".

"Mislim da je seks precijenjen", govori frigidna protagonistica Ann (nikad bolja Andie MacDowell) na razgovoru kod psihijatra. Ann više ne spava sa suprugom Johnom (Peter Gallagher), a ovaj to nadoknađuje varajući je s njezinom ekstrovertnom sestrom Cynthijom (Laura San Giacomo). Međutim, u njoj se nešto zatomljeno budi kad upozna nekadašnjeg muževa cimera Grahama (Spader) koji će unijeti boju u njen crno-bijeli svijet a la "Pleasantville".

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Interesantno, Graham je impotentan ("Ne mogu dobiti erekciju ispred nekoga"), ali riječima stimulira njezine erogene zone kad se njih dvoje upuste u filozofske šprehe, što radi i sam film na gledatelja i mogli bismo satima slušati ono što govore. Razgovor je bolji od seksa u filmu koji se pozicionira kao metafilmska dramska inačica komedija Woodyja Allena o muško-ženskim odnosima, dajući odgovor na "sve što ste oduvijek htjeli znati o seksu, ali niste se usudili pitati".

Naime, Graham ima kolekciju videovrpci s intervjuima žena koje je snimao dok govore o svojim seksualnim iskustvima, tajnama i fantazijama, kao nadomjestak za impotenciju, što će isprve odbiti Ann, ali je i fascinirati, toliko da i sama staje ispred njegove kamere, nakon što je to prethodno napravila Cynthia.

"Zašto mi ne dopustiš da te snimim?", njegovo je uobičajeno pitanje. "Kako ćemo početi?", zanima se Cynthia. "Ja upalim kameru, ti počneš govoriti", kaže Graham koji je na određeni način redatelj, Soderberghov supstitut, a žene pred kamerom svojevrsne glumice iz njegova "Seks, laži i videovrpce" filma ili na audiciji za isti. Totalno "meta", zar ne? Tu je i (video)kamera kao nešto bez čega ne može svaki redatelj, tako i Graham pa je vodi posvuda sa sobom i drži je u gepeku.

Kamera je produžetak njegova uma i tijela, s čime "Sex, Lies, and Videotape" citira i parafrazira šest godina stariji tjelesni SF horor "Videodrom" Davida Cronenberga koji je spajao meso, TV i video, a i Spaderova uloga kao da je predigra za njegov "Sudar". "Jesi li ikad bila na televiziji?", Graham pita Ann i ona će se naći na TV-u zahvaljujući snimci na njegovoj kameri u ponajboljoj sceni filma ("superosmica" kadrovi za umjetnički dojam) dok je na ekranu gleda John.

Soderbergh se nadovezao na Cronenberga u "Seksu, lažima i videovrpcama", ali i predvidio današnje vrijeme društvenih medija, kad gotovo svatko želi biti na TV-u/videu i dijeliti svoja razmišljanja s čitavim svijetom ili "peeping-tomovski" gledati druge dok to rade, posebice ako ima nekakve veze sa seksom. Film "Sex, Lies, and Videotapes" bio je nezavisna drama s vizijom.

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Premijera na Sundanceu

Film je imao premijeru na Sundance festivalu 20. siječnja 1989. i proslavio je McDowell koja je devedesetih postala zvijezda ("Kratki rezovi", "Beskrajni dan"...).

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Pojava filma "Seks, laži i videovrpce" ("Sex, Lies, and Videotape", 1989.) na izmaku osamdesetih označila je prekretnicu za američku nezavisnu kinematografiju i potpalila fitilj za eksploziju "indie" ostvarenja u devedesetima. Nezavisnjački prvijenac tada 29-godišnjeg Stevena Soderbergha, budućeg oskarovca i hitmejkera ("Erin Brockovich", "Traffic", "Daleko od očiju", "Oceanovih 11-13"), koštao je svega 1.2 milijuna dolara i osvojio je Zlatnu palmu u Cannesu u konkurenciji s jednim "Cinema Paradisom", kao i nagradu za najboljeg glumca Jamesa Spadera.

Pobjeda filma "Seks, laži i videovrpce" stigla je kao potvrda snage američke nezavisne scene osamdesetih na čelu s Jimom Jarmuschom (iste godine u Cannesu se natjecao s "Mystery Train", kao i Spike Lee s "Do The Right Thing"), ali i bila vjesnik stvari koje dolaze. Canneski žiri, predvođen predsjednikom Wimom Wendersom ("Pariz, Teksas"), prepoznao je vrijednost i unikatnost provokativno naslovljenog Soderberghovog debija.

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FILM: Sex, Lies, and Videotape; drama; SAD, 1989. REŽIJA: Steven Soderbergh ULOGE: James Spader, Andie Macdowell OCJENA: *****

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Stvarno, "Sex, Lies, and Videotape" bio je drukčiji od svega što se tada snimalo u američkoj kinematografiji i alternativa dominantnom komercijalnom, visokoproračunskom "mainstream" Hollywoodu, u tom razdoblju napučenom prestižim oskarovskim filmovima, mišićavim herojima i erotiziranim glumicama. Niskobudžetan i nekomercijalan, artistički, karakterno i konverzacijski nastrojen, gotovo dokumentaristički, pa i metafilmski u pristupu generacijskoj drami za zreliju publiku.

Razlika je drastična između, primjerice, srednjestrujaške generacijske drame za odrasle "Velika jeza" Lawrencea Kasdana s početka osamdesetih i Soderberghova filma na isteku dekade. "Seks, laži i videovrpce" je najavio neko novo razdoblje subverzivnijih i direktnijih egzistencijalnih meditativnih drama s usamljenim, otuđenim likovima (npr. "Ledena oluja", "Vrtlog života"...).

Subverzija je istaknuta i u provokativnom naslovu filma: "Sex, Lies, and Videotape" sugerira nešto seksualno i erotsko, naročito u periodu kad su erotične drame i trileri bili u velikom uzletu ("Odjevena da ubije", "Tjelesna strast", "Poštar uvijek zvoni dvaput", "Devet i pol tjedana", "Kobna privlačnost", "More ljubavi"). Kad ono, od seksa jedva "s".

"Mislim da je seks precijenjen", govori frigidna protagonistica Ann (nikad bolja Andie MacDowell) na razgovoru kod psihijatra. Ann više ne spava sa suprugom Johnom (Peter Gallagher), a ovaj to nadoknađuje varajući je s njezinom ekstrovertnom sestrom Cynthijom (Laura San Giacomo). Međutim, u njoj se nešto zatomljeno budi kad upozna nekadašnjeg muževa cimera Grahama (Spader) koji će unijeti boju u njen crno-bijeli svijet a la "Pleasantville".

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Interesantno, Graham je impotentan ("Ne mogu dobiti erekciju ispred nekoga"), ali riječima stimulira njezine erogene zone kad se njih dvoje upuste u filozofske šprehe, što radi i sam film na gledatelja i mogli bismo satima slušati ono što govore. Razgovor je bolji od seksa u filmu koji se pozicionira kao metafilmska dramska inačica komedija Woodyja Allena o muško-ženskim odnosima, dajući odgovor na "sve što ste oduvijek htjeli znati o seksu, ali niste se usudili pitati".

Naime, Graham ima kolekciju videovrpci s intervjuima žena koje je snimao dok govore o svojim seksualnim iskustvima, tajnama i fantazijama, kao nadomjestak za impotenciju, što će isprve odbiti Ann, ali je i fascinirati, toliko da i sama staje ispred njegove kamere, nakon što je to prethodno napravila Cynthia.

"Zašto mi ne dopustiš da te snimim?", njegovo je uobičajeno pitanje. "Kako ćemo početi?", zanima se Cynthia. "Ja upalim kameru, ti počneš govoriti", kaže Graham koji je na određeni način redatelj, Soderberghov supstitut, a žene pred kamerom svojevrsne glumice iz njegova "Seks, laži i videovrpce" filma ili na audiciji za isti. Totalno "meta", zar ne? Tu je i (video)kamera kao nešto bez čega ne može svaki redatelj, tako i Graham pa je vodi posvuda sa sobom i drži je u gepeku.

Kamera je produžetak njegova uma i tijela, s čime "Sex, Lies, and Videotape" citira i parafrazira šest godina stariji tjelesni SF horor "Videodrom" Davida Cronenberga koji je spajao meso, TV i video, a i Spaderova uloga kao da je predigra za njegov "Sudar". "Jesi li ikad bila na televiziji?", Graham pita Ann i ona će se naći na TV-u zahvaljujući snimci na njegovoj kameri u ponajboljoj sceni filma ("superosmica" kadrovi za umjetnički dojam) dok je na ekranu gleda John.

Soderbergh se nadovezao na Cronenberga u "Seksu, lažima i videovrpcama", ali i predvidio današnje vrijeme društvenih medija, kad gotovo svatko želi biti na TV-u/videu i dijeliti svoja razmišljanja s čitavim svijetom ili "peeping-tomovski" gledati druge dok to rade, posebice ako ima nekakve veze sa seksom. Film "Sex, Lies, and Videotapes" bio je nezavisna drama s vizijom.

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Premijera na Sundanceu

Film je imao premijeru na Sundance festivalu 20. siječnja 1989. i proslavio je McDowell koja je devedesetih postala zvijezda ("Kratki rezovi", "Beskrajni dan"...).

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StoryEditorOCM
Film & TVCINEMARK OBLJETNICA

‘Seks, laži i videovrpce‘: Sve što ste htjeli vidjeti o seksu, a niste se usudili gledati

Piše Marko Njegić
13. siječnja 2024. - 09:00
26333411
Galerija
Outlaw Productions/Virgin/Collection Christophel Via Afp

Pojava filma "Seks, laži i videovrpce" ("Sex, Lies, and Videotape", 1989.) na izmaku osamdesetih označila je prekretnicu za američku nezavisnu kinematografiju i potpalila fitilj za eksploziju "indie" ostvarenja u devedesetima. Nezavisnjački prvijenac tada 29-godišnjeg Stevena Soderbergha, budućeg oskarovca i hitmejkera ("Erin Brockovich", "Traffic", "Daleko od očiju", "Oceanovih 11-13"), koštao je svega 1.2 milijuna dolara i osvojio je Zlatnu palmu u Cannesu u konkurenciji s jednim "Cinema Paradisom", kao i nagradu za najboljeg glumca Jamesa Spadera.

Pobjeda filma "Seks, laži i videovrpce" stigla je kao potvrda snage američke nezavisne scene osamdesetih na čelu s Jimom Jarmuschom (iste godine u Cannesu se natjecao s "Mystery Train", kao i Spike Lee s "Do The Right Thing"), ali i bila vjesnik stvari koje dolaze. Canneski žiri, predvođen predsjednikom Wimom Wendersom ("Pariz, Teksas"), prepoznao je vrijednost i unikatnost provokativno naslovljenog Soderberghovog debija.

FILM: Sex, Lies, and Videotape; drama; SAD, 1989. REŽIJA: Steven Soderbergh ULOGE: James Spader, Andie Macdowell OCJENA: *****

Stvarno, "Sex, Lies, and Videotape" bio je drukčiji od svega što se tada snimalo u američkoj kinematografiji i alternativa dominantnom komercijalnom, visokoproračunskom "mainstream" Hollywoodu, u tom razdoblju napučenom prestižim oskarovskim filmovima, mišićavim herojima i erotiziranim glumicama. Niskobudžetan i nekomercijalan, artistički, karakterno i konverzacijski nastrojen, gotovo dokumentaristički, pa i metafilmski u pristupu generacijskoj drami za zreliju publiku.

Razlika je drastična između, primjerice, srednjestrujaške generacijske drame za odrasle "Velika jeza" Lawrencea Kasdana s početka osamdesetih i Soderberghova filma na isteku dekade. "Seks, laži i videovrpce" je najavio neko novo razdoblje subverzivnijih i direktnijih egzistencijalnih meditativnih drama s usamljenim, otuđenim likovima (npr. "Ledena oluja", "Vrtlog života"...).

Subverzija je istaknuta i u provokativnom naslovu filma: "Sex, Lies, and Videotape" sugerira nešto seksualno i erotsko, naročito u periodu kad su erotične drame i trileri bili u velikom uzletu ("Odjevena da ubije", "Tjelesna strast", "Poštar uvijek zvoni dvaput", "Devet i pol tjedana", "Kobna privlačnost", "More ljubavi"). Kad ono, od seksa jedva "s".

"Mislim da je seks precijenjen", govori frigidna protagonistica Ann (nikad bolja Andie MacDowell) na razgovoru kod psihijatra. Ann više ne spava sa suprugom Johnom (Peter Gallagher), a ovaj to nadoknađuje varajući je s njezinom ekstrovertnom sestrom Cynthijom (Laura San Giacomo). Međutim, u njoj se nešto zatomljeno budi kad upozna nekadašnjeg muževa cimera Grahama (Spader) koji će unijeti boju u njen crno-bijeli svijet a la "Pleasantville".

Interesantno, Graham je impotentan ("Ne mogu dobiti erekciju ispred nekoga"), ali riječima stimulira njezine erogene zone kad se njih dvoje upuste u filozofske šprehe, što radi i sam film na gledatelja i mogli bismo satima slušati ono što govore. Razgovor je bolji od seksa u filmu koji se pozicionira kao metafilmska dramska inačica komedija Woodyja Allena o muško-ženskim odnosima, dajući odgovor na "sve što ste oduvijek htjeli znati o seksu, ali niste se usudili pitati".

Naime, Graham ima kolekciju videovrpci s intervjuima žena koje je snimao dok govore o svojim seksualnim iskustvima, tajnama i fantazijama, kao nadomjestak za impotenciju, što će isprve odbiti Ann, ali je i fascinirati, toliko da i sama staje ispred njegove kamere, nakon što je to prethodno napravila Cynthia.

"Zašto mi ne dopustiš da te snimim?", njegovo je uobičajeno pitanje. "Kako ćemo početi?", zanima se Cynthia. "Ja upalim kameru, ti počneš govoriti", kaže Graham koji je na određeni način redatelj, Soderberghov supstitut, a žene pred kamerom svojevrsne glumice iz njegova "Seks, laži i videovrpce" filma ili na audiciji za isti. Totalno "meta", zar ne? Tu je i (video)kamera kao nešto bez čega ne može svaki redatelj, tako i Graham pa je vodi posvuda sa sobom i drži je u gepeku.

Kamera je produžetak njegova uma i tijela, s čime "Sex, Lies, and Videotape" citira i parafrazira šest godina stariji tjelesni SF horor "Videodrom" Davida Cronenberga koji je spajao meso, TV i video, a i Spaderova uloga kao da je predigra za njegov "Sudar". "Jesi li ikad bila na televiziji?", Graham pita Ann i ona će se naći na TV-u zahvaljujući snimci na njegovoj kameri u ponajboljoj sceni filma ("superosmica" kadrovi za umjetnički dojam) dok je na ekranu gleda John.

Soderbergh se nadovezao na Cronenberga u "Seksu, lažima i videovrpcama", ali i predvidio današnje vrijeme društvenih medija, kad gotovo svatko želi biti na TV-u/videu i dijeliti svoja razmišljanja s čitavim svijetom ili "peeping-tomovski" gledati druge dok to rade, posebice ako ima nekakve veze sa seksom. Film "Sex, Lies, and Videotapes" bio je nezavisna drama s vizijom.

Premijera na Sundanceu

Film je imao premijeru na Sundance festivalu 20. siječnja 1989. i proslavio je McDowell koja je devedesetih postala zvijezda ("Kratki rezovi", "Beskrajni dan"...).

#CINEMARK#CINEMARK OBLJETNICA#FILMOVI 80-IH#STEVEN SODERBERGH#SEKS, LAŽI I VIDEOVRPCE#ANDIE MACDOWELL#INDIE FILMOVI#JAMES SPADER#KULTNI FILMOVI#LAURA SAN GIACOMO#DRAME#PETER GALLAGHER
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16. svibanj 2024 14:32