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<\/figure>\n<\/figure>\n\n\nA t\u00f6rt\u00e9net egy informatikai c\u00e9g tulajdonosv\u00e1lt\u00e1s\u00e1nak hazugs\u00e1gokkal, gy\u00e1vas\u00e1ggal \u00e9s felel\u0151ss\u00e9gh\u00e1r\u00edt\u00e1ssal \u00e1tsz\u0151tt egy\u00e9ni \u00e9s t\u00e1rsas tragikom\u00e9di\u00e1j\u00e1t mutatja be. A sz\u00ednj\u00e1t\u00e9kra zseni\u00e1lisan kiv\u00e1lasztott d\u00e1n \u00e9s izlandi sz\u00edn\u00e9szek mellett, von Trier a film narr\u00e1tora. Egyik leg\u00e9rdekesebb m\u0171ve ez, amelyben a filmtechnikai k\u00eds\u00e9rletez\u00e9s \u00fajabb gy\u00f6ngyszem\u00e9t tapasztalhatjuk meg, ami term\u00e9szetesen a\u00a0Dogma 95<\/strong><\/em>\u00a0mozgalom manifesztum\u00e1hoz is saj\u00e1tosan eredeti m\u00f3don kapcsol\u00f3dik. Hiszen a mozg\u00f3k\u00e9pszerkeszt\u00e9s nyelvtan\u00e1t figyelmen k\u00edv\u00fcl hagy\u00f3 Automavision nev\u0171 \u00faj rendszerrel k\u00eds\u00e9rletez\u0151 irodai-szat\u00edra n\u00e9lk\u00fcl\u00f6zi az egyik f\u0151f\u0151 alkot\u00f3t\u00e1rs, az operat\u0151r szerep\u00e9t \u00e9s jelent\u0151s\u00e9g\u00e9t. A film \u00edgy kapott kiz\u00f6kkent, nyegle k\u00e9pt\u00f6red\u00e9kes vizu\u00e1lis vil\u00e1ga egyszerre id\u00e9zi a dokumentarista ipari kamer\u00e1k suta leskel\u0151d\u0151 poz\u00edci\u00f3j\u00e1t \u00e9s a sz\u0171k szob\u00e1k \u00e9s falak \u00f6vezte, bels\u0151v\u00e9 l\u00e9nyeg\u00fclt korl\u00e1tok k\u00f6z\u00f6tt verg\u0151d\u0151, posztkamasz korban rekedt alkalmazottak \u00e9s f\u0151n\u00f6keik groteszk csetl\u00e9s-botl\u00e1s\u00e1t. Mintha a nagy erej\u0171 \u00e9s jelent\u0151s\u00e9g\u0171 mozg\u00f3k\u00e9pen k\u00edv\u00fcli t\u00e9r potenci\u00e1ja is kiz\u00f6kkenne \u00e9s kisp\u00e1ly\u00e1s libid\u00f3ja hull\u00e1mz\u00f3v\u00e1 v\u00e1lna. M\u00e9gis, amikor a n\u00e9z\u0151i tekintet, a keretezett mozg\u00f3k\u00e9p itt mell\u00e9kesnek, gyakran esetlegesnek bizonyul\u00f3 belseje fel\u00e9 tart, felfedezi a v\u00e1llalati l\u00e9t\u00e1llapot esszenci\u00e1j\u00e1t.<\/p>\n\n\n Ez egy olyan film, amelyet mind annak l\u00e1tnia kell, aki puszt\u00e1n sz\u00f3rakoz\u00e1sb\u00f3l n\u00e9z filmet, \u00e9s azoknak, akik \u00e1ltal\u00e1ban egy film m\u0171v\u00e9szi \u00e9rt\u00e9k\u00e9re gondolnak, \u00e9s megpr\u00f3b\u00e1lj\u00e1k kialak\u00edtani saj\u00e1t filmm\u0171v\u00e9szeti kult\u00far\u00e1jukat \u00e9s filoz\u00f3fi\u00e1jukat. Csak egyetlen jelz\u0151vel lehet jellemezni a F\u0151f\u0151n\u00f6k<\/strong>-\u00f6t: zseni\u00e1lis. Zseni\u00e1lis, mint Lars von Trier.<\/em> (Federico Querin)<\/p>\n\n\n\n Sz\u00e1sz Csongor<\/p>\n\n\n\n A programot t\u00e1mogatta: <\/p>\n\n\n\n Szabadka\/2024.05.07. Lars von Trier: F\u0151f\u0151n\u00f6k (Direkt\u00f8ren for det hele), 2006, d\u00e1n v\u00edgj\u00e1t\u00e9k, 99 perc Lars von Trier nem szipork\u00e1z\u00f3 humor\u00e1r\u00f3l ismert, s\u0151t. Lars von Trier fekete humora, b\u00e1r sokszorosan felragyog a Birodalom c\u00edm\u0171 t\u00e9v\u00e9sorozatban, egyetlen igazi...<\/p>\n","protected":false},"author":3,"featured_media":3419,"comment_status":"closed","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-3413","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\/2024\/05\/440351743_10234080258129375_6078757962236701010_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\/2024\/05\/440351743_10234080258129375_6078757962236701010_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\/3413","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=3413"}],"version-history":[{"count":2,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/posts\/3413\/revisions"}],"predecessor-version":[{"id":4163,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/posts\/3413\/revisions\/4163"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/media\/3419"}],"wp:attachment":[{"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/media?parent=3413"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/categories?post=3413"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/tags?post=3413"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:auto\/h:auto\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2024\/05\/440138166_10234080261449458_93667599210066062_n.jpg\")
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