Film tjedna #003 - Roza: Teološki film ceste (r. Višnja Pentić, 2015.)
Jedan statični kadar; crninom ogrnuta usta melju non-stop! Ne, nije Beckettov Not I. U ovom filmu ceste bez ceste na vidiku gledamo lik časne sestre koja moli instruktora vožnje da joj progleda kroz prste i pusti ju da prođe. Ispit vožnje ili kroz vrata Raja? Svejedno. Sveprisutna odsutnost (pješak) joj se nije ukazala, što će reći da ne može izaći na oči svojim pokroviteljicama iz samostana. Ostaje joj samo jedna opcija – biti zvučni top, upilati bližnjeg svog na mrtvo ime. Roza precizno karikira banalne užase rada s ljudima i pritom ne gubi doticaj sa stvarnošću koju maštovito napuhava. Ako je zaista, kako nalaže Pascalov uvodni citat, jasnoća preduvjet za dostojanstvo, onda imamo posla s vrhunaravno dostojnim filmom.
Jedina prava kritika nekog filma postiže se snimanjem drugog, barem tako kaže Jean-Luc Godard. Eto nam prilike da vidimo što i kako Višnja Pentić kritizira kad svoju kritiku snima, umjesto da ju piše.
Roza - A Theological Road Movie
One static shot; a mouth clad in blackness keeps yapping! No, it's not Beckett's Not I. In this road movie without a road in sight, we watch a nun begging her driving instructor to turn a blind eye and let her pass. Her driving exam or through the pearly gates? Same difference. The omnipresent absence (a pedestrian) did not appear to her, so she can't appear before her patrons from the monastery. She has but one option – to become a sound cannon and annoy her neighbour to death. Roza offers a poignant caricature of the banal horrors of working a customer-facing job, without ever losing touch with the reality which it imaginatively inflates. If clarity is, indeed, a prerequisite for worthiness, then we are dealing with an incredibly worthy film.
One can only criticise a film by making another one; at least that's what Jean-Luc Godard said. Here's a chance for us to see what Višnja Pentić criticizes and how she does it when, instead of writing her critique, she films it.