opera prima di Erik Poppe, siamo a Oslo, una banda di ragazzini ai margini di qualsiasi cosa cerca di fare qualche colpo che gli procuri un po' di soldi.
ma il giro è troppo grande, gli adulti sono dei delinquenti da ergastolo, tutto va a finire male.
ma è sopratutto la storia di un'amicizia, fra Jonas ed Emir, un'amicizia senza troppi motivi, perché l'amicizia, come l'amore, non è facile spiegarla.
un film che non si dimentica in fretta, poi Erik Poppe farà di meglio, ma inizia già bene, buona visione - Ismaele
QUI il film completo, in
lingua norvegese
…It feels like it was made for Norwegian TV,
directly opposite of the emotional feel and production value of the two
profound films that follow. Like those two, there are ways in which Schpaaa contains
elements of the relational power of a restored family unit, but it ultimately
wears the viewer down and wears itself out with its beaten up kids and a
narrative that burns out.
The shortest of the three films, clocking in at
only 73 minutes, Schpaaa is an awkward launching pad for the
trilogy. It's nowhere near as cinematically packed as the following Hawaii,
Oslo or Troubled Water, and a DVD copy is quite hard to
track down. The only way to obtain it anymore is to find a used copy on eBay.
Trilogy purists might long to see it in order to view the three as a whole, but
it's just as easy to skip Schpaaa altogether and find the
real deal in the following films. My next two posts will discuss those
inspirational gems in-depth.
A story of loyalty and friendship among young street kids caught
in a spiral of crime, “Schpaaa” (Norwegian street slang for “cool”) is a gritty
and realistic depiction of an Oslo never before seen on film. Although its
story is nothing new, pic is a captivating, basically sad tale of kids who are
doomed from their early years. A critical and commercial hit on home turf,
where it made headlines for its subject matter, film marks a strong debut by
writer-director Erik Poppe that should travel the fest circuit…
…Cuando el cineasta
noruego Erik Poppe termina su primera película está cerca de cumplir los
cuarenta años, una edad que le proporciona ventaja emocional por la perspectiva
distante que toma sobre la historia narrada en Schpaaa, acerca de
una pandilla de adolescentes conflictivos que delinquen por su ciudad. Sus
modos se alejan de la evidencia de otros films contemporáneos norteamericanos
sobre jóvenes, obras como las de Larry Clark o Harmony Korine. O de obras más
moralizadoras como la española Historias del Kronen. La virtud de
Poppe en su ópera prima es la elusión de posibles explicaciones que reflejen el
contexto familiar o social de sus personajes. Aunque sí aparecen adultos como
la madre de Jonas, que intenta convencer a su hijo para que abandone la
pandilla y se aplique más en los estudios, tutelándolo con más torpeza que
determinación. O el tío delincuente del discapacitado psíquico Emir, el mayor
del grupo pero el menos inteligente de todos. Es cierto que los chicos no
tienen un contexto apropiado para salir de sus broncas y demás trapicheos, pero
tampoco es un entorno tan decadente como para ser carne de cañón ninguno de
ellos…
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