{"id":2612,"date":"2023-03-07T14:05:41","date_gmt":"2023-03-07T13:05:41","guid":{"rendered":"https:\/\/ctalker.org\/?p=2612"},"modified":"2023-03-14T14:06:10","modified_gmt":"2023-03-14T13:06:10","slug":"kurbli-filmklub-krzysztof-kieslowski-harom-szin-kek","status":"publish","type":"post","link":"https:\/\/ctalker.org\/en\/2023\/03\/07\/kurbli-filmklub-krzysztof-kieslowski-harom-szin-kek\/","title":{"rendered":"Kurbli Filmklub: Krzysztof Kieslowski-H\u00e1rom sz\u00edn\/K\u00e9k"},"content":{"rendered":"\n

Szabadka\/2023.03.07.<\/p>\n\n\n\n

Krzysztof Kieslowski-H\u00e1rom sz\u00edn\/K\u00e9k (Trois couleurs: Bleu), 1993, lengyel-francia-sv\u00e1jci-angol filmdr\u00e1ma, 94 perc<\/p>\n\n\n\n

Krzysztof Kie\u015blowski Eur\u00f3pa bens\u0151s\u00e9ges ismeret\u00e9t \u00e9s szeretet\u00e9t, szerz\u0151ien saj\u00e1tos szemsz\u00f6g\u00e9t \u00e9s k\u00e9pszerkeszt\u0151 \u00e9rz\u00e9kenys\u00e9g\u00e9t, t\u00edz r\u00e9szes T\u00edzparancsolat<\/em> sorozat\u00e1ban \u00e9s H\u00e1rom sz\u00edn<\/strong><\/em>-tril\u00f3gi\u00e1j\u00e1ban bizony\u00edtja legink\u00e1bb<\/p>\n\n\n\n

Az eur\u00f3pai filmm\u0171v\u00e9szetet \u00fajra magasba emel\u0151 mesteri filmjei kinyilatkoztat\u00e1sszer\u0171, realista \u00e9s befogad\u00f3 k\u00f6zpont\u00fa szellemis\u00e9gben fogantak. \u00c9letszer\u0171en meglep\u0151, brav\u00farosan empatikus \u00e9s h\u00e9tk\u00f6znapian egyszer\u0171 (\u00e9s\/vagy bonyolult \u2013 ki-ki eld\u00f6ntheti) dramaturgi\u00e1j\u00fa tril\u00f3gi\u00e1ja a francia z\u00e1szl\u00f3 sz\u00edneihez kapcsolt forradalmi eszm\u00e9ket vagyis a trikol\u00f3r sz\u00ednei \u00e1ltal szimboliz\u00e1lt ide\u00e1kat \u2013 Franciaorsz\u00e1g jelmondat\u00e1t \u2013 j\u00e1rja k\u00f6r\u00fcl, \u201ef\u00e9lig ironikusan\u201d<\/em>. Jelent\u00e9s\u00fck: K\u00e9k<\/strong><\/em>\u2013 SZABADS\u00c1G; Feh\u00e9r<\/strong><\/em> \u2013 EGYENL\u0150S\u00c9G; Piros<\/strong><\/em>\u2013 TESTV\u00c9RIS\u00c9G. <\/p>\n\n\n\n

Mint egy t\u00f6k\u00e9letes m\u0171alkot\u00e1sban \u2013 ahol a szerz\u0151 \u00e1tl\u00e1t a n\u00e9z\u0151j\u00e9n \u00e9s t\u00f6bb l\u00e9p\u00e9ssel is el\u0151tte j\u00e1r \u2013, m\u00e9g a meseelemek \u00e9s azok kapcsol\u00f3d\u00e1sai is leny\u0171g\u00f6z\u0151en illeszkednek. A h\u00e1rom film, persze egym\u00e1st\u00f3l k\u00fcl\u00f6nv\u00e1lasztva is eg\u00e9szet alkot.\u00a0K\u00e9k<\/strong><\/em>\u00a0\u2013 SZABADS\u00c1G: \u201eA posztmodern felfog\u00e1s szerint a szabads\u00e1g: a befoly\u00e1solhatatlan jelenidej\u0171s\u00e9g \u00e9s jelenval\u00f3s\u00e1g. \u00cdgy \u00e9rte a m\u00falt, az eml\u00e9kezet is fel\u00e1ldozhat\u00f3 \u00e9s fel\u00e1ldozand\u00f3. Az egy\u00e9ni \u00e9s kollekt\u00edv egyar\u00e1nt.\u201d<\/em>-jegyzi meg a film kapcs\u00e1n Kov\u00e1cs Istv\u00e1n. Az egyes\u00fclt Eur\u00f3pa k\u00e9sz\u00fcl\u0151 himnusz\u00e1nak terhe alatt, a\u00a0K\u00e9k<\/strong><\/em>\u00a0f\u0151szerepl\u0151j\u00e9nek t\u00f6rt\u00e9nete elviselhetetlen f\u00e1jdalommal kezd\u0151dik, majd ment\u00e1lis b\u00f6rt\u00f6nnel, m\u00e9ly gy\u00e1sszal folytat\u00f3dik, m\u00edg eljut az \u00fajrakezd\u00e9sig, vagyis a bens\u0151 \u2013 \u00e9s a gy\u00e1sz alatt \u00e9p\u00edtett k\u00fcls\u0151 \u2013 korl\u00e1tok (\u00e9s \u00fcress\u00e9g) megsz\u0171n\u00e9s\u00e9t k\u00f6vet\u0151, \u00e9letben t\u00f6rt\u00e9n\u0171 \u00fajra-felold\u00f3d\u00e1shoz. Mindezt Kie\u015blowski hum\u00e1nus, intellektu\u00e1lis st\u00edlusa \u00e9s Juliette Binoche egyik legfontosabb alak\u00edt\u00e1s\u00e1nak finom j\u00e1t\u00e9ka teszi eml\u00e9kezetess\u00e9.<\/p>\n\n\n\n

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\"\"<\/figure>\n<\/figure>\n\n\n\n

\u201eA kisz\u00e1m\u00edthatatlans\u00e1g, a speci\u00e1lis r\u00e9szletek, az \u00f6sszetett karakterek \u00e9l\u0151v\u00e9, val\u00f3szer\u0171v\u00e9, egyediv\u00e9 teszik Kie\u015blowski filmjeit. Mint nagy tisztel\u0151je, Stanley Kubrick kifejtette: Kie\u015blowski filmjeiben nemcsak az \u00f6tlet, a szellemi mag az er\u0151s, hanem a dramatiz\u00e1l\u00e1s is. Semmi nincs el\u0151re megr\u00e1gva, a felfedez\u00e9s szabads\u00e1ga pedig m\u00e1mor\u00edt\u00f3 \u2013 a rendez\u0151 m\u00e9gis biztos k\u00e9zzel ir\u00e1ny\u00edtja a figyelm\u00fcnket, \u00edgy a filmjei \u00e9rthet\u0151nek, kereknek hatnak.\u201d (Gy\u00f6ngy\u00f6si Lilla)<\/p>\n

\u201eHat\u00e1rozott hang\u00fa r\u00e9sztvev\u0151je volt a mor\u00e1lis nyugtalans\u00e1g mozij\u00e1nak t\u00f6bbek k\u00f6zt Andrzej Wajda \u00e9s Krzysztof Zanussi mellett (ut\u00f3bbi came\u00f3zott is Amat\u0151r c\u00edm\u0171 filmj\u00e9ben), annak az 1976 \u00e9s 1981 k\u00f6z\u00f6tti lengyel filmes ir\u00e1nyzatnak, amelyet a hatalom v\u00e9gig\u00a0gyanakv\u00e1ssal szeml\u00e9lt, \u00e9s a hadi\u00e1llapot bevezet\u00e9se vetett neki v\u00e9get.\u201d (GY\u00d6NGY\u00d6SI)<\/p>\n

Sz\u00e1sz Csongor<\/p>\n","protected":false},"excerpt":{"rendered":"

Szabadka\/2023.03.07. Krzysztof Kieslowski-H\u00e1rom sz\u00edn\/K\u00e9k (Trois couleurs: Bleu), 1993, lengyel-francia-sv\u00e1jci-angol filmdr\u00e1ma, 94 perc Krzysztof Kie\u015blowski Eur\u00f3pa bens\u0151s\u00e9ges ismeret\u00e9t \u00e9s szeretet\u00e9t, szerz\u0151ien saj\u00e1tos szemsz\u00f6g\u00e9t \u00e9s k\u00e9pszerkeszt\u0151 \u00e9rz\u00e9kenys\u00e9g\u00e9t, t\u00edz r\u00e9szes T\u00edzparancsolat sorozat\u00e1ban \u00e9s H\u00e1rom sz\u00edn-tril\u00f3gi\u00e1j\u00e1ban bizony\u00edtja legink\u00e1bb Az eur\u00f3pai filmm\u0171v\u00e9szetet...<\/p>\n","protected":false},"author":3,"featured_media":2624,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","_themeisle_gutenberg_block_has_review":false,"footnotes":""},"categories":[8,9],"tags":[],"class_list":["post-2612","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kurbli","category-kurbli-filmklub"],"featured_image_src":"https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:auto\/h:auto\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2023\/03\/332938241_568168518597634_2486932169200893310_n.jpg","featured_image_src_square":"https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:auto\/h:auto\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2023\/03\/332938241_568168518597634_2486932169200893310_n.jpg","author_info":{"display_name":"Kari","author_link":"https:\/\/ctalker.org\/en\/author\/karina\/"},"_links":{"self":[{"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/posts\/2612","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/comments?post=2612"}],"version-history":[{"count":2,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/posts\/2612\/revisions"}],"predecessor-version":[{"id":2625,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/posts\/2612\/revisions\/2625"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/media\/2624"}],"wp:attachment":[{"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/media?parent=2612"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/categories?post=2612"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/tags?post=2612"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}