Amori ciechi (J. Lehotsky, 2008)
Amori ciechi (Slepe lásky)
di Juraj Lehotsky – Slovacchia 2008
con Peter Kolesar, Iveta Koprdova
**
Visto allo spazio Oberdan, in originale con sottotitoli (rassegna di Cannes).
Non è ironico che un film slovacco si intitoli "Amori ciechi"? Ma in realtà la pellicola racconta quattro storie d'amore fra non vedenti. L'anziano Peter suona il pianoforte, si immagina di camminare sott'acqua (in una divertente sequenza onirica e Verniana, la cosa migliore del film) e dirige il coro dei bambini della scuola, mentre la moglie gli prepara un interminabile maglione. L'abbronzatissimo zingaro Miro si innamora di Monique e la sposa nonostante i genitori di lei siano contrari. Elena, incinta, sta per avere un bambino e fa mille progetti su di lui. La giovane e introversa Zuzana ascolta Tchaikovsky, cambia scuola e chatta su internet con un amico che ignora il suo handicap e che forse non incontrerà mai. Le quattro storie non si intersecano, e nel complesso il film è leggero e fondamentalmente innocuo. Forse sarebbe stato più interessante sotto forma di documentario.
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In Blind Loves Gabriele Barrera found "a tender and at the same time breathtaking docu-fiction-animated-manipulated-stopmotioned-patchwork of uncommon cinema"
"Blind Loves":
Minimalist Variations
By Gabriele Barrera (FIPRESCI)
[...] The main idea of Blind Loves, repeated with minimalist variations in four chapters and following with the respectful Lehotsky's camera the life of several blind characters, is a paradoxical idea. Have a look at that. All the characters are real blind people, not professional actors, but filmed in an unrealistic way: for example Peter Kolesár, blind piano teacher in the homonymous episode Peter, presents "some charming moments that play like Georges Méliès crossed with Jan Svankmajer", as Alissa Simon writes in "Variety". Miro Daniel in his Miro, a blind version of Romeo and Juliet, has not a tragic but a sweetest happy end. Elena Manželia in Elena, about a blind pregnant girl, is a mélange between the Truffaut of L'argent de poche (1976), and the Johan van der Keuken of Blind Kind II (1966). Zuzana Pohánková in her Zuzana, a blind teenager that plays blind in a chat room, that is an anti Larry Clark's version of the description of the teens' love, combines the poetically realistic style of the Slovak director Dušan Hanák (e.g. Ružové sny, 1976) to the visual harshness of Dog Days (2001) or Jesus, You Know (2003) by Ulrich Seidl.
And, further, a bigger paradoxical idea. Surprise! Lehotsky's blindess reserves a tender and indescribable sense of well-being, through a (not) vision of the world marked by an unexpected happiness. Normal anxieties, yes, normal hopes, but — in his Blind Loves — lives a tactile sensation of a caressing atmosphere. A resounding reversal of the novel by José Saramago, Blindness (Ensaio sobre a cegueira, 1995), and of the movie by Fernando Meirelles (id., 2008). Consequently, as in a lov and hate relationship, Juraj Lehotsky has a blind love for the contradictions. Lehotsky builds his visual opera about the impossibility of the eyesight but not the tragedy of the blindness, like to say: the impossibility of the cinema isn't a tragedy! But it's not enough. Because it's true that all the spectators of Blind Loves — those who have just seen a movie about blind-love-stories and a lot of blind people — are in the disturbing position so that everything is literally visible only by the public, only by Lehotsky and his spectators, not by the people into the screen. It's a position of unintentional, unseen, ontological status of voyeurism: voyeurism without cause. It's exactly the blind alley of the cinema, from Lumière to Andy Warhol: to view the reality and to make a kind of violence to it. This is the reason because an immediate will of tenderness from the public balances the intrusion of Lehotský in the blind world: a world made not for the cinema. [...]
http://www.fipresci.org/festivals/archive/2008/motovun/blind_loves_barrera.htm
Motovun (Croatia, July 28 — August 1, 2008).
Prize: Blind Loves (Slépe Lásky) by Juraj Lehotský (Slovakia, 2008).
Jury: Gabriele Barrera, Italy ("Duellanti", "Nick-FilmTV", "Il Mucchio Selvaggio", "Maxim Italia"), Gábor Böszörményi, Hungary ("Mozinet Magazin"), Stefan Ivancic, Spain ("contrapicado.net").
Print Source: Autlook Films, Peter Jäger, Zieglergasse 75/1, A-1070 Vienna, Austria, T +43 (720) 55 35 70, Fax +43 (720) 55 35 72, peter@autlookfilms.com, www.autlookfilms.com/
Festival: www.motovunfilmfestival.com
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