Samotarski hi\u0161nik Beto (Coria) za visokimi zidovi \u017ee desetletja vzdr\u017euje vilo, ki je lastnica ne more prodati. Enoli\u010dni ritem budilke, prhanja, zajtrka, popravil in likanja srajc mu ustreza, le poredko njegovo izolacijo zmotita obisk ostarele lastnice (Huerta) ali prostitutke Lupe (Orozco). Monotonijo preseka prodaja hi\u0161e, ki agorafobi\u010dnega Beta postavi na razpotje med dru\u017eabnim \u017eivljenjem in nadaljnjo osamo. Re\u017eijski in scenaristi\u010dni prvenec Enriqueja Rivera je\u00a0\u2013 zna\u010dilno za mehi\u0161ki novi val\u00a0\u2013 ves \u010das na robu med dokumentarnim in fiktivnim. Dolgi, povsem stati\u010dni kadri realisti\u010dno orisujejo osamljeno \u017eivljenje resni\u010dnega skrbnika hi\u0161e, iz roke snemani veliki plani pa pri natur\u0161\u010diku prika\u017eejo ve\u010d \u010dustev kot redki, a dobro premi\u0161ljeni dialogi. Dokumentarna 16-milimetrska kamera sledi Betovemu razpolo\u017eenju; v\u00a0varni notranjosti vile deluje hladno in umirjeno\u00a0\u2013 snemanje iz klasi\u010dnih kotov\u00a0\u2013, v\u00a0zunanjem svetu Ciudada de Mexica pa eksplodira v\u00a0mavrico toplih tonov in epilepti\u010dnih prehodov iz kadra v\u00a0kader. Skozi ponavljajo\u010de se scene nikoli kon\u010danih vzdr\u017eevalnih del se slika glavni junak, ki ni le prebivalec vile, ampak njen sestavni element, bistven za njen obstoj. Redko pojavljajo\u010da se, a precizno odmerjena klasi\u010dna glasba dopolnjuje dialog in pod\u010drtava fotografijo, ki ustvarja vzdu\u0161je tesnobnosti odprtih prostorov. Socialni razkol med indijanskim hi\u0161nikom in premo\u017eno belo lastnico\u00a0\u2013 obi\u010dajen v\u00a0sodobni Mehiki\u00a0\u2013 je ves \u010das zaznaven, a ni problematiziran. Oba sta s\u00a0svojim dru\u017ebenim polo\u017eajem in sterilnimi medsebojnimi odnosi sprijaznjena in ne \u017eelita sprememb, ki pa so na dolgi rok neizbe\u017ene. \u00bbTo je moj prvi scenarij, zato me zelo veseli, da sem po njem \u017ee lahko posnel film. Mislim, da je re\u017eiranje po tujih scenarijih zame stvar preteklosti, saj je zelo zabavno re\u017eirati film po lastni zgodbi in s\u00a0svobodo, ki ti jo to omogo\u010da. Zgodba predstavlja osamljeno osebo, ki v\u00a0filmu igra samo sebe. Hotel sem, da je film, kolikor le mogo\u010de, videti kot dokumentarec, zato sem ga posnel s\u00a016-milimetrsko kamero. Menim, da se gledalec zagotovo la\u017ee v\u017eivi v\u00a0lik, \u010de v\u00a0filmu vlada vzdu\u0161je dokumentarca.\u00ab (Enrique Rivero)<\/p>\n
Enrique Rivero<\/em><\/p>\n Rojen leta 1976\u00a0v\u00a0Madridu. Po \u0161tudiju industrijskega in\u017eeniringa v\u00a0Mehiki se je zaposlil v\u00a0ban\u010dni\u0161tvu in od\u0161el na enoletno delo v\u00a0Zdru\u017eene dr\u017eave. Tam se je odlo\u010dil za spremembo \u017eivljenja in za\u010del \u0161tudirati film. Delal je na razli\u010dnih podro\u010djih filmske produkcije, tako tehni\u010dne kot umetni\u0161ke. Re\u017eiral je dva kratka filma, Nidra (2004) in Schhht (2005), v\u00a0produkciji Sinsan Productions. Februarja 2005\u00a0je kot pomo\u010dnik re\u017eiserja sodeloval pri nastanku filma La Influencia (2007) Pedra Aguilere v\u00a0koprodukciji Mantarraye.<\/p>\n \u00bbIt’s\u00a0the first script that i’ve put into film. I\u00a0didn’t do any shorts or anything with my story so it was really nice way of approaching with my first movie to be like first thing that i\u00a0wrote to be actually filmed. It’s\u00a0very satisfying thing for me. For me the experience of directing someone else’s\u00a0film is over, because it is really really fun to do whatever you write, think and then come to a movie. Because it is a story of a lonely character and the and the actual taker of the house is the actor in the movie, i\u00a0wanted to show it as much as a documentary as possible, so i\u00a0used a 16mm camera. I\u00a0think, if you have a documentary feeling, then definitely you get more involved with a character.\u00ab (Enrique Rivero)<\/p>\n OPOMBA:<\/em> izjava je prevzeta iz video intervjuja z\u00a0avtorjem, ki slabo govori angle\u0161ko.<\/p>\n izvirnik biografije:<\/em><\/p>\n Enrique studied Industrial Engineering in Mexico. After finishing his studies he started working in the banking industry in Mexico and then moved to the United States to work a year for Citibank. That year was a point of inflexion for Enrique, since he decided to change his life and to study cinema. He has worked in different areas related to the cinematographic production, from the photography to the art. As Director he has conducted two shortfilms: Nidra and Schhht , produced by Sinsan Productions. In February 2005\u00a0he worked as First Assistant of Direction in the feature film La Influencia (Director’s\u00a0Fortnight Cannes 2007), by Pedro Aguilera and coproduced by Mantarraya.<\/p>\n","protected":false},"excerpt":{"rendered":" Samotarski hi\u0161nik Beto (Coria) za visokimi zidovi \u017ee desetletja vzdr\u017euje vilo, ki je lastnica ne more prodati. Enoli\u010dni ritem budilke, prhanja, zajtrka, popravil in likanja srajc mu ustreza, le poredko njegovo izolacijo zmotita obisk ostarele lastnice (Huerta) ali prostitutke Lupe (Orozco). Monotonijo preseka prodaja hi\u0161e, ki agorafobi\u010dnega Beta postavi na razpotje med dru\u017eabnim \u017eivljenjem in<\/p>\n","protected":false},"featured_media":1850,"template":"","meta":[],"acf":[],"_links":{"self":[{"href":"https:\/\/www.kinodvor.org\/en\/wp-json\/wp\/v2\/movies\/1849"}],"collection":[{"href":"https:\/\/www.kinodvor.org\/en\/wp-json\/wp\/v2\/movies"}],"about":[{"href":"https:\/\/www.kinodvor.org\/en\/wp-json\/wp\/v2\/types\/movie"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.kinodvor.org\/en\/wp-json\/wp\/v2\/media\/1850"}],"wp:attachment":[{"href":"https:\/\/www.kinodvor.org\/en\/wp-json\/wp\/v2\/media?parent=1849"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}\n