Film tjedna #009 - How to Score a Film in Ten Minutes or Less (r. Zorko Sirotić, 2021.)
Odgovor na naslovno pitanje imamo nakon 5 minuta. Točnije, nakon što odgledamo petminutnu scenu skladanja glazbe za film koji još čeka vlastitu materijalizaciju. Znamo da će njegov kraj biti ukraden iz drugog filma; ostaje nam vidjeti što će sve stati između već nađenog kraja i početka filma koji nam se pred očima rađa. Odakle će doći kraj, to je sporedno. Slušamo Zorkov opis kadrova koje će nositi glazba i iščekujemo njihovo ukazanje. Je l' za to treba skenirati veliki bar-code na zidu? U međuvremenu, NIAPPENSTEIN! Što je to? Ne znam, ali evo ga opet i opet. Javlja se kao sjena u svojim očima i kao performer u očima drugih. I OPET! Kraj Njape njegov dugokosi dvojnik. Mislim, relativno su slični, kao opis kadra i ono što se fakat snimi, crtež aviona na dlanu i ukradena snimka istog.
Film Zorka Sirotića opsjednut je kojekakvim odjecima, a svaki njegov prizor otvara novi horizont očekivanja, nimalo nalik prethodnima. Ukratko, ponavljanjem do neponovljivog.
////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////
The titular question is answered within the first 5 minutes. We see the soundtrack being composed for a film that's still waiting to be materialized. We know its ending will be stolen from another film; all that remains to be seen is what will fit in between the foreseen ending and the beginning of the film being born infront of our eyes. Where the end will come isn't as important. We listen to a description of the shots that ought to be carried by the music being played and we await their appearance. In the meantime, NIAPPENSTEIN! What's that? I don't know, but there it goes again and again. It appears as a shadow in its own eyes, as a performer in the eyes of others. AND AGAIN! Next to Njapo, his own long-haired double. I mean, they sort of look alike, like a description of a shot and the real thing; an airplane drawing and a stolen recording of it. The airplane, I mean.
Zorko Sirotić's film is obsessed with echoes, and each of its scenes creates new expectations, nothing like the previous ones. An irreplicable film, born out of repetition.