{"id":2073,"date":"2022-06-07T11:02:20","date_gmt":"2022-06-07T10:02:20","guid":{"rendered":"https:\/\/ctalker.org\/?p=2073"},"modified":"2022-08-17T19:24:49","modified_gmt":"2022-08-17T18:24:49","slug":"kurbli-filmklub-fernando-meirelles-isten-varosa","status":"publish","type":"post","link":"https:\/\/ctalker.org\/rs\/2022\/06\/07\/kurbli-filmklub-fernando-meirelles-isten-varosa\/","title":{"rendered":"Kurbli Filmklub: Fernando Meirelles-Isten v\u00e1rosa"},"content":{"rendered":"\n

Szabadka\/2022.06.07.<\/p>\n\n\n\n

Fernando Meirelles: Isten v\u00e1rosa (Cidade de Deus<\/em>), 2002, brazil krimi filmdr\u00e1ma, 130 p.<\/p>\n\n\n\n

A film Paulo Lins bestsellere, a Cidade de Deus<\/em> c\u00edm\u0171 reg\u00e9ny alapj\u00e1n k\u00e9sz\u00fclt. Neki siker\u00fclt a lehetetlen, kijutott a Rio de Janeiro perem\u00e9n tal\u00e1lhat\u00f3 Isten v\u00e1ros\u00e1<\/em>nak nevezett gett\u00f3b\u00f3l.<\/p>\n\n\n\n

Az eposzi krimi-dr\u00e1ma szerepl\u0151inek a sors\u00e1t a hatvanas \u00e9vekt\u0151l a hetvenes \u00e9vek v\u00e9g\u00e9ig k\u00f6vethetj\u00fck. \u201cA brazil nagyv\u00e1rosok k\u00f6r\u00fcl a negyvenes \u00e9vekben kialakult, majd a hetvenesekben robban\u00e1sszer\u0171 n\u00f6veked\u00e9sen \u00e1tesett nyomornegyedek az ezredfordul\u00f3n m\u00e1r megker\u00fclhetetlen kultur\u00e1lis t\u00e9nyez\u0151k, melyek \u00e9pp\u00fagy k\u00e9pviseltetik magukat a k\u00f6nny\u0171zene, mint a filmm\u0171v\u00e9szet ter\u00fclet\u00e9n.\u201d (SEPSI) A favel\u00e1kb\u00f3l indul\u00f3 nyers val\u00f3s\u00e1got el\u0151kotr\u00f3, igazs\u00e1got k\u00f6vetel\u0151 t\u00e1rsadalmi-kultur\u00e1lis folyamatoknak az egyik betet\u0151z\u00e9se, a rekl\u00e1mszakm\u00e1b\u00f3l \u00e9rkez\u0151 Fernando Meirelles Isten v\u00e1rosa<\/em> c\u00edm\u0171 2002-es vil\u00e1gh\u00edr\u0171 j\u00e1t\u00e9kfilmje. Ezekkel a sikerekkel pedig a favela-vil\u00e1g kinevelhette azokat a figur\u00e1kat akiknek – mint Paulo Lins – az eredend\u0151, t\u00f6rt\u00e9nelmi sz\u00e1nd\u00e9ka a l\u00e1that\u00f3v\u00e1 v\u00e1l\u00e1s.<\/p>\n

 <\/p>\n\n\n\n

\n
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Jelenet a filmb\u0151l<\/figcaption><\/figure>\n\n\n\n
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Favell\u00e1k a val\u00f3s\u00e1gban<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
\u00a0<\/div>\n
A realista filmm\u0171v\u00e9szetben mindig is tiszteletteljes hagyom\u00e1nya volt a k\u00fclv\u00e1rosokban j\u00e1tsz\u00f3d\u00f3, a szeg\u00e9nys\u00e9get m\u00e9ly emp\u00e1ti\u00e1val kezel\u0151 \u00e9s a b\u0171n\u00f6z\u00e9s hat\u00e1rmezsgy\u00e9j\u00e9r\u0151l tud\u00f3s\u00edt\u00f3 k\u00fcl\u00f6nb\u00f6z\u0151 mozg\u00f3k\u00e9peknek. De Meirelles j\u00e1t\u00e9kfilmj\u00e9ben neh\u00e9z erk\u00f6lcsileg elv\u00e1lasztani b\u0171n\u00f6st \u00e9s \u00e1ldozatot, megk\u00fcl\u00f6nb\u00f6ztetni okot \u00e9s okozatot. A brazil filmesek persze a kezdetekt\u0151l \u00f3ri\u00e1si lehet\u0151s\u00e9get l\u00e1ttak ebben a diszt\u00f3pikus, fikci\u00f3ba hajl\u00f3 univerzumban. \u201cA t\u00f6megfilmes dramaturgia hozz\u00e1ad\u00e1sa \u00e9s a figur\u00e1k lekerek\u00edt\u00e9se csup\u00e1n apr\u00f3cska, de sz\u00fcks\u00e9gszer\u00fb sz\u00e9p\u00e9szeti beavatkoz\u00e1s\u201d \u2013 \u00edrja Sepsi L\u00e1szl\u00f3. \u201cAz alkot\u00f3k g\u00f6rd\u00fcl\u00e9keny, \u00e9lvezetes, helyenk\u00e9nt m\u00e1r-m\u00e1r klipes\u00edtett st\u00edlusban t\u00e1rj\u00e1k el\u00e9nk a gyal\u00e1zatot. Ugyanakkor a dr\u00e1maiatlans\u00e1g, a szenvtelens\u00e9g hat\u00e1s\u00e1ra sem j\u00e1tszanak r\u00e1. \u2026 nemigen b\u00edbel\u0151dnek a \u00bbjellemfejl\u0151d\u00e9s\u00ab l\u00e9lektani megalapoz\u00e1s\u00e1val\u201d, ez\u00e9rt nehezebb egy\u00fctt\u00e9rezni \u00e9s azonosulni a szerepl\u0151kkel. Ez a film t\u00e1rsadalmi anal\u00edzis, kb. 200 autentikus szem\u00e9ly szerepeltet\u00e9s\u00e9vel. Olyan filmm\u0171v\u00e9szet, amelyben a dial\u00f3gusok 70 sz\u00e1zal\u00e9k\u00e1t a helysz\u00ednen, az \u00e9l\u0151besz\u00e9db\u0151l r\u00f6gz\u00edtett\u00e9k.<\/span><\/div>\n
\u201cFernando Meirelles filmj\u00e9ben az erk\u00f6lcsi \u00e9rt\u00e9krend hi\u00e1nya olyan term\u00e9szetess\u00e9ggel jelenik meg, amely ritka a moziv\u00e1sznon.\u201d A gett\u00f3 lak\u00f3inak tetteit \u00e9s v\u00e9res viszonyait prim\u0151r, alapvet\u0151 \u00e9rdekek \u00e9s t\u00fal\u00e9l\u00e9si strat\u00e9gi\u00e1k ok-okozati \u00f6sszef\u00fcgg\u00e9sei hat\u00e1rozz\u00e1k meg, mely viselked\u00e9sform\u00e1k ink\u00e1bb az \u00e1lattvil\u00e1gra eml\u00e9keztetnek, teh\u00e1t \u201cahol ontol\u00f3giai oka van a rossznak, ott nem lehet \u00bbj\u00f3nak\u00ab lenni.\u201d – folytatja eszmefuttat\u00e1s\u00e1t \u00c1gfalvi Attila.<\/span><\/div>\n
\u00a0<\/div>\n\n\n
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\"\"<\/figure>\n<\/div>\n\n\n

„Isten t\u00f6k\u00e9letes. A l\u00e9tez\u00e9s t\u00f6k\u00e9letlen. K\u00f6vetkez\u00e9sk\u00e9ppen Isten nem l\u00e9tezik.\u201d<\/p>Dr. St\u0151hr L\u00f3r\u00e1nt filmkritikus, fimt\u00f6rt\u00e9n\u00e9sz id\u00e9zi Errol Morris dokumentumfilm-rendez\u0151 metafizikai ki\u00e1br\u00e1ndults\u00e1g\u00e1t kifejez\u0151, ide v\u00e1g\u00f3 aforizm\u00e1j\u00e1t. (Mely a Canterbury Szent Anzelm istenbizony\u00edt\u00e9k\u00e1t c\u00e1fol\u00f3 szillogizmus…)<\/cite><\/blockquote>\n\n\n\n

Sz\u00e1sz Csongor<\/p>\n\n\n

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Megval\u00f3sult a Magyar Korm\u00e1ny t\u00e1mogat\u00e1s\u00e1val<\/figcaption><\/figure>\n<\/div>","protected":false},"excerpt":{"rendered":"

Szabadka\/2022.06.07. Fernando Meirelles: Isten v\u00e1rosa (Cidade de Deus), 2002, brazil krimi filmdr\u00e1ma, 130 p. A film Paulo Lins bestsellere, a Cidade de Deus c\u00edm\u0171 reg\u00e9ny alapj\u00e1n k\u00e9sz\u00fclt. Neki siker\u00fclt a lehetetlen, kijutott a Rio de Janeiro...<\/p>\n","protected":false},"author":3,"featured_media":2077,"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-2073","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\/2022\/06\/283933108_10229366482887940_5323739344757103110_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\/2022\/06\/283933108_10229366482887940_5323739344757103110_n.jpg","author_info":{"display_name":"Kari","author_link":"https:\/\/ctalker.org\/rs\/author\/karina\/"},"_links":{"self":[{"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/posts\/2073","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/comments?post=2073"}],"version-history":[{"count":4,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/posts\/2073\/revisions"}],"predecessor-version":[{"id":2333,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/posts\/2073\/revisions\/2333"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/media\/2077"}],"wp:attachment":[{"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/media?parent=2073"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/categories?post=2073"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/tags?post=2073"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}