Ohjaus:
Milan CieslarKäsikirjoitus:
Milan CieslarKuvaus:
Jiří MacháněSävellys:
Jan ČernýNäyttelijät:
Tatiana Dyková, Karolína Kaiserová, Jan Budař, Vilma Cibulková, Alice Bendová, Ondřej Vetchý, Saša Rašilov nejml., Roman Luknár, Filip Blažek (lisää)Juonikuvaukset(1)
A tragicomic mosaic of stories focusing on three siblings: 16-year-old Anna, 26-year-old Jana, and their half brother Vladimír, age 35. Each of them is looking for the right person to come into their lives, but this merely leads to fumbling through life in a muddle while repeating the same mistakes. Anna is very far from her ideal of flashy beauty, and she struggles to be perfect as self doubts gnaw at her. In her naiveté, she gets caught by the same snares that trapped her sister. The elder girl is tearing through life in the fast lane - towards her first divorce. None of them realizes just how similar their problems are to those of their mother and brother, a brother they as yet know nothing about. (jakelijan virallinen teksti)
(lisää)Arvostelut (2)
I looked in vain for traces of comedy in the film, but drama was almost ever-present (including an ordinary opening of the door). All the characters were unlikeable as hell, led by the loser portrayed by Sasha Rashilov, and I was bored for most of the one hundred minutes. In the end, I felt like the creators’ favorite destination was ‘Silicone’ Valley. Not only did they cast the trio Vilhelmová, Cibulková, Veselá, they even addressed the topic directly. I’m just not a fan of such enhancements.
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Cieslar's film Dirty Soul follows his perception of the world. In the 1990s it was a surprisingly good probe into the world of elite sport, ambition, and violence in The Taste of Death. A decade later, Happy Celluloid produces a distinctly unsuccessful probe into the world of people in broken relationships. The seemingly good idea to connect several disparate pairs and polygons by a common address and one death did not quite work. At the beginning, Josef Nedorost missed his chance to make a comeback, and the rest was just one lifeless caricature to the next. Yes, young people's relationships are naive, marital infidelities are often awkward, and ambition and caring for a family often don't see eye to eye, but in Cieslar's film, it's all just a staged mistake with unusually bad acting. Even though I tended to appreciate at least the setting of the story in the less attractive parts of Prague, it didn't really help much.
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