{"id":17638,"date":"2026-03-08T05:51:11","date_gmt":"2026-03-08T05:51:11","guid":{"rendered":"https:\/\/www.europesays.com\/cz\/17638\/"},"modified":"2026-03-08T05:51:11","modified_gmt":"2026-03-08T05:51:11","slug":"tema-25-nejlepsich-filmu-21-stoleti-podle-krauseta","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/cz\/17638\/","title":{"rendered":"T\u00e9ma: 25 nejlep\u0161\u00edch film\u016f 21. stolet\u00ed podle krauseta"},"content":{"rendered":"

S koncem roku 2025 se n\u00e1m uzav\u0159elo prv\u00e9 \u010dtvrtstolet\u00ed nov\u00e9ho tis\u00edcilet\u00ed, co\u017e je b\u00e1je\u010dn\u00e1 p\u0159\u00edle\u017eitost k tomu vybrat 25 sn\u00edmk\u016f, kter\u00e9 pokl\u00e1d\u00e1m kdy\u017e ne za ty nejlep\u0161\u00ed, tak za takov\u00e9, kter\u00e9 m\u011b zvl\u00e1\u0161\u0165 zas\u00e1hly a ovlivnily. V p\u0159\u00ed\u0161t\u00edch t\u00fddnech a m\u011bs\u00edc\u00edch \u010dekejte podobn\u00e9 \u010dl\u00e1nky i od ostatn\u00edch. R\u00e1d bych upozornil, \u017ee 21. stolet\u00ed ofici\u00e1ln\u011b za\u010d\u00edn\u00e1 a\u017e rokem 2001, v \u017eeb\u0159\u00ed\u010dku tedy nejsou zastoupeny filmy datovan\u00e9 2000, i kdy\u017e maj\u00ed v zahrani\u010d\u00ed tendenci tuto drobnost p\u0159ehl\u00ed\u017eet. \u00a0<\/p>\n

Star\u0161\u00ed generace MovieZone c\u00edt\u00ed nostalgii po devades\u00e1tk\u00e1ch, ta mlad\u0161\u00ed se takto ohl\u00ed\u017e\u00ed po letech nult\u00fdch. Skryt\u00e1 hrozba byl v\u016fbec prvn\u00ed film, u n\u011bho\u017e jsem kino d\u016frazn\u011b inicioval, Spider-Man v roce 2002 pak m\u00e1 v\u016fbec prv\u00e1 n\u00e1v\u0161t\u011bva multikina. N\u011bkdy od t\u00e9 doby se vy\u017eivovala moje cinefilie. Jako n\u011bkdo, kdo vyrostl na trilogi\u00edch, se vzpouz\u00edm d\u011blit p\u0159\u00edb\u011bhy, kter\u00e1 ch\u00e1pu jako jedno velk\u00e9 vypr\u00e1v\u011bn\u00ed, a tak n\u00ed\u017ee naleznete p\u00e1r drobn\u00fdch podv\u016fdc\u016f a n\u011bco kreativn\u00edho \u00fa\u010detnictv\u00ed, abych se do t\u00e9 p\u011btadvac\u00edtky ve\u0161el.\u00a0<\/p>\n

Z\u00e1rove\u0148 je n\u011bkolik film\u016f, kter\u00e9 si zaslou\u017e\u00ed alespo\u0148 \u010destnou zm\u00ednku, jeliko\u017e se na n\u011b nedostalo jen velmi t\u011bsn\u011b. Nakonec pro m\u011b bylo zvl\u00e1\u0161\u0165 n\u00e1ro\u010dn\u00e9 vynechat tyto kusy: Temn\u00fd ryt\u00ed\u0159 i Temn\u00fd ryt\u00ed\u0159 povstal, kte\u0159\u00ed, jakkoliv brilantn\u00ed, nemaj\u00ed z\u00e1sadn\u00ed, dlouhodob\u00fd vliv na moji estetiku (pominu-li IMAXov\u00fd form\u00e1t, kter\u00fd je ale zastoupen v Interstellaru). D\u00edla Gaspara No\u00e9ho, jeho\u017e Vejdi do pr\u00e1zdna i Climax by se um\u00edstily v n\u00e1sleduj\u00edc\u00ed des\u00edtce. Tu by doplnili nervn\u00ed Uncut Gems, Nymfomanka i Antikrist, Tenkr\u00e1t v Hollywoodu, Ztraceno v p\u0159ekladu, Oppenheimer a Chud\u00e1\u010dci, mo\u017en\u00e1 Florida Project a Prvn\u00ed \u010dlov\u011bk.\u00a0<\/p>\n

Te\u010f u\u017e bez dal\u0161\u00edch pr\u016ftah\u016f zvu ke \u010dten\u00ed i k diskusi!<\/p>\n

25. Synekdocha, New York (2008, Charlie Kaufman)<\/p>\n

Kafkovsk\u00fd labyrint sv\u011bta a peklo srdce. Re\u017eijn\u00ed debut Charlieho Kaufmana a dal\u0161\u00ed propracovan\u00fd sc\u00e9n\u00e1\u0159, kter\u00fd p\u0159i\u0161el po jeho V\u011b\u010dn\u00e9m svitu neposkvrn\u011bn\u00e9 mysli, kter\u00fd by si rovn\u011b\u017e v podobn\u00e9m \u017eeb\u0159\u00ed\u010dku zaslou\u017eil zastoupen\u00ed, vypr\u00e1v\u00ed o divadeln\u00edm re\u017eis\u00e9ru Cadenovi (jako v\u017edy uhran\u010div\u00fd Philip Seymour Hoffman), jemu\u017e d\u00e1 velk\u00fd grant p\u0159\u00edle\u017eitost zre\u017e\u00edrovat sv\u016fj magnum opus. A on se v ob\u0159\u00edm hang\u00e1ru rozhodne postavit kulisy a sehr\u00e1t jakousi kopii, synekdochu \u017eivota.\u00a0<\/p>\n

\"\"<\/p>\n

Synekdocha je liter\u00e1rn\u00ed trop, v n\u011bm\u017e jednotlivost zastupuje celek a naopak (po\u017e\u00e1dat o ruku). Caden, kter\u00fd se nespokoj\u00ed s ni\u010d\u00edm men\u0161\u00edm ne\u017e \u201ebrut\u00e1ln\u00ed pravdou\u201c, je poh\u00e1n\u011bn lidskou touhou m\u00edt v\u011bci pod kontrolou a d\u00e1t \u0159\u00e1d nahodilosti \u017eit\u00ed. A to s \u010d\u00edm d\u00e1l intenzivn\u011bj\u0161\u00ed pedanteri\u00ed. A ani sedmn\u00e1ct let \u201ezkou\u0161ek\u201c nevede k tomu, aby se p\u0159izvalo publikum. Divadlo je tu jako simulace \u017eivota, kter\u00e9 si \u017e\u00e1d\u00e1 dal\u0161\u00ed, men\u0161\u00ed simulaci, kter\u00e1 by v sob\u011b zahrnula i to divadla samotn\u00e9. A tak st\u00e1le n\u00ed\u017e, n\u00ed\u017e, detailn\u011bji. Hoffmann\u016fv hrdina by nejrad\u011bji cestoval a\u017e na subatom\u00e1rn\u00ed \u00farove\u0148. Kompulzivn\u011b mimetick\u00e1 z\u00e1pletka sk\u00fdt\u00e1 filmu p\u0159\u00edle\u017eitost pro hlubokou esej o lidsk\u00e9 kone\u010dnosti, o drtiv\u00e9 skute\u010dnosti a o to, \u017ee konec je zabudov\u00e1n v ka\u017ed\u00e9m za\u010d\u00e1tku.\u00a0<\/p>\n

24. Portr\u00e9t d\u00edvky v plamenech (2019, C\u00e9line Sciamma)<\/p>\n

Celine Schiama p\u0159evrac\u00ed m\u00fdtus o Orfeovi a ukazuje, \u017ee t\u00edm nejhor\u0161\u00edm proklet\u00edm m\u016f\u017ee b\u00fdt to, kdy\u017e se za v\u00e1mi va\u0161e l\u00e1ska v pravou chv\u00edli neohl\u00e9dne. Portr\u00e9t d\u00edvky v plamenech je sn\u00edmek re\u017e\u00edrovan\u00fd s mimo\u0159\u00e1dnou p\u00e9\u010d\u00ed o detail. Filmu v\u00e9vod\u00ed nesm\u00edrn\u00e9 olejomalebn\u00e9 v\u00fdjevy, z\u00e1rove\u0148 se jedn\u00e1 o velk\u00e9 zobrazen\u00ed \u017eenstv\u00ed. Sc\u00e9na potratu v juxtapozici s batoletem hraj\u00edc\u00edm si na stejn\u00e9 posteli v chatce porodn\u00ed b\u00e1by pokl\u00e1d\u00e1m za jeden z nejv\u00edce v\u0161eobj\u00edmaj\u00edc\u00edch obraz\u016f \u017eensk\u00e9 vz\u00e1jemnosti v kinematografii tohoto stolet\u00ed. Portr\u00e9t d\u00edvky v plamenech k tomu d\u00e1v\u00e1 poc\u00edtit skute\u010dnou n\u011bhu zapov\u011bzen\u00e9 sapfick\u00e9 l\u00e1sky.\u00a0<\/p>\n

\"\"<\/p>\n

23. Z\u00f3na z\u00e1jmu (2023, r. Jonathan Glazer)<\/p>\n

Jonathan Glazer nato\u010dil po sn\u00edmku Pod k\u016f\u017e\u00ed se Scarlett Johansson dal\u0161\u00edho kandid\u00e1ta na horor stolet\u00ed. Jeho Z\u00f3na z\u00e1jmu je v\u0161ak nane\u0161t\u011bst\u00ed i dva roky po premi\u00e9ry \u010d\u00edm d\u00e1l aktu\u00e1ln\u011bj\u0161\u00ed, od koncentra\u010dn\u00edch t\u00e1bor\u016f v Texasu po genocidu Palestinc\u016f a\u017e po vra\u017ed\u011bn\u00ed demonstrant\u016f v \u00cdr\u00e1nu. Z\u00f3na z\u00e1jmu je film o tom, jak nicotn\u00ed lid\u00e9 p\u00e1chaj\u00ed stra\u0161liv\u00e9 zlo. St\u00e1le z\u0159ejm\u011bj\u0161\u00ed je pak schopnost lid\u00ed odd\u011blit hr\u016fzy od sv\u00e9ho ka\u017edodenn\u00edho \u017eit\u00ed a vytla\u010dit v\u011bt\u0161inu toho, co se jich p\u0159\u00edmo net\u00fdk\u00e1, mimo z\u00f3nu z\u00e1jmu. Je to film o tom, jakou cenu jsou lid\u00e9 schopni zaplatit za to, aby m\u011bli d\u016fm se zahradou.\u00a0<\/p>\n

\"\"<\/p>\n

Glazer zpracov\u00e1v\u00e1 knihu Martina Amise Z\u00f3na z\u00e1jmu a pojedn\u00e1v\u00e1 o Rudolfu H\u00f6ssovi, prvn\u00edm veliteli vyhlazovac\u00edho t\u00e1bora v Osv\u011btimi, a jeho rodin\u011b. Sleduje rodinu z odstupu, filmu v podstat\u011b chyb\u00ed d\u011bj \u010di klasick\u00fd narativ. P\u0159i nat\u00e1\u010den\u00ed bylo domu H\u00f6ssov\u00fdch um\u00edst\u011bno deset kamer, co\u017e zaru\u010duje kontinuitu z\u00e1b\u011br\u016f (je zde efekt a\u017e jak\u00e9si filmov\u00e9 reality show), zat\u00edmco se rodina pohybuje po dom\u011b ve sv\u00e9 ka\u017edodennosti. Tento Glazer\u016fv fokus na ka\u017edodennost je nov\u00e1torsk\u00fd a siln\u00fd.<\/p>\n

Film otev\u00edr\u00e1 t\u00e1hl\u00fdm, dlouh\u00fdm, nep\u0159\u00edjemn\u00fdm zvukem, kter\u00fdm do filmu vstupujeme a kter\u00fd n\u00e1s uv\u00e1d\u00ed do pat\u0159i\u010dn\u00e9ho rozpolo\u017een\u00ed. Zvukov\u00e1 stopa, naprosto jedine\u010dn\u00e1 a zdrcuj\u00edc\u00ed, bude v\u016fbec hlavn\u00edm zdrojem hr\u016fzy. Horor se v Z\u00f3n\u011b z\u00e1jmu nese vzduchem jako zvuk. Zapomene snad po \u010dase zvuky, kter\u00e9 se permanentn\u011b linou z t\u00e1bora a tvo\u0159\u00ed v\u0161udyp\u0159\u00edtomnou kulisu? Nest\u00e1v\u00e1 se tak imunn\u00edm, a proto mal\u00fdm spolupachatelem? Pokud se u t\u011bchto my\u0161lenek p\u0159istihnete, film se pro v\u00e1s stane t\u00e9m\u011b\u0159 a\u017e interaktivn\u00edm z\u00e1\u017eitkem. Vy\u017eaduje aktivn\u00ed \u00fa\u010dast div\u00e1ka, kter\u00fd nepodlehne stereotypu ka\u017edodenn\u00edho \u017eivota na pl\u00e1tn\u011b a je schopen samostatn\u011b prom\u00fd\u0161let, co vid\u00ed a (zejm\u00e9na) sly\u0161\u00ed, \u010d\u00edm\u017e ho vyz\u00fdv\u00e1, aby byl s\u00e1m sou\u010d\u00e1st\u00ed my\u0161lenkov\u00e9ho odboje. \u00a0\u00a0<\/p>\n

22. P\u0159e\u017eij\u00ed jen milenci (2013, r. Jim Jarmusch)<\/p>\n

Dandysmus up\u00edr\u016f, kde krev a burgundsk\u00e9 te\u010de rovn\u00fdm d\u00edlem. Up\u00edrsk\u00e1 komedie zalo\u017een\u00e1 na \u00fanav\u011b \u017eivotem, na le\u017e\u00e9rn\u00edm u\u017e\u00edv\u00e1n\u00ed si nesmrtelnosti a na dekadentn\u00edm poleh\u00e1v\u00e1n\u00ed ve stalet\u00ed zkr\u00e1\u0161lovan\u00fdch bytech. Jim Jarmusch nato\u010dil netradi\u010dn\u00ed pohled na up\u00edrstvo, kdy\u017e spr\u00e1vn\u011b seznal, \u017ee pr\u00e1v\u011b oni maj\u00ed se sv\u00fdm neomezen\u00fdm \u010dasem potenci\u00e1l ultim\u00e1tn\u00edch fl\u00e1ka\u010d\u016f. To up\u00ed\u0159i jsou tou nejv\u00edce aristokratickou, zah\u00e1l\u010divou t\u0159\u00eddou.<\/p>\n

\"\"<\/p>\n

21. trilogie Pir\u00e1ti z Karibiku (2003, 2006 & 2007, r. Gore Verbinski)<\/p>\n

Toto stolet\u00ed definuj\u00edc\u00ed dobrodru\u017en\u00e1 s\u00e1ga. A z pocty se net\u011b\u0161\u00ed jen prvn\u00ed d\u00edl, kter\u00fd je bez debat nejsoudr\u017en\u011bj\u0161\u00ed, nejvtipn\u011bj\u0161\u00ed a co do vyu\u017eit\u00ed KAPIT\u00c1NA Jacka Sparrowa nejum\u011b\u0159en\u011bj\u0161\u00ed. Truhla mrtv\u00e9ho mu\u017ee toti\u017e umn\u011b roz\u0161\u00ed\u0159ila fik\u010dn\u00ed sv\u011bt, opat\u0159ila ho bytelnou pir\u00e1tskou mytologi\u00ed a zm\u011bnila t\u011b\u017ei\u0161t\u011b, kdy\u017e na z\u00e1porn\u00e9 sv\u011btlo vynesla britsk\u00fd kolonialismus, V\u00fdchodoindickou obchodn\u00ed spole\u010dnost a jej\u00edho p\u0159edstavitele Becketta, jednoho z nejm\u00e9n\u011b stereotypn\u00edch z\u00e1por\u00e1k\u016f nult\u00fdch let. Na konci sv\u011bta se p\u0159es v\u0161echny ty neusledovateln\u00e9 \u010dachry a zm\u011bny v koalic\u00edch projevilo jako sn\u00edmek melancholick\u00fd, kter\u00fd dorov\u00e1z\u00ed nejfilmov\u011bj\u0161\u00ed obrazy i nejlep\u0161\u00ed hudebn\u00ed skladby trilogie. Lo\u010f pluj\u00edc\u00ed pod hv\u011bzdnou klenbou nebo k\u00fdlem vzh\u016fru pod zelen\u00fdm paprskem jsou pro m\u011b nezapomenuteln\u00e9 v\u00fdjevy vyvol\u00e1vaj\u00edc\u00ed hlubok\u00fd pud objevitele.\u00a0<\/p>\n

\"\"<\/p>\n

V Davy Jonesovi pak Verbinski vytvo\u0159il vedle Gluma nejpozoruhodn\u011bj\u0161\u00ed digit\u00e1ln\u00ed postavu, s n\u00ed\u017e se dodnes ka\u017ed\u00fd podobn\u00fd v\u00fdtvor mus\u00ed porovn\u00e1vat. Postavy v Pir\u00e1tech p\u0159ekvapuj\u00ed svou trojrozm\u011brnost\u00ed, ka\u017ed\u00e1 m\u00e1 svou vlastn\u00ed (v\u011bt\u0161inou) srozumitelnou motivaci. Pir\u00e1ti jsou pln\u00ed vizu\u00e1ln\u00ed i verb\u00e1ln\u00ed komiky a mistrovsk\u00fdch slovn\u00edch v\u00fdm\u011bn. Humor \u010dasto plyne z kontrast\u016f: vzne\u0161en\u00e9 dr\u017een\u00ed t\u011bla, jak se Jack ve sv\u00e9 \u00favodn\u00ed sc\u00e9n\u011b vyp\u00edn\u00e1 k nebi, jen aby kamera odhalila, \u017ee stoj\u00ed na mal\u00e9m st\u011b\u017eni pot\u00e1p\u011bj\u00edc\u00ed se b\u00e1rky, kter\u00e1 se dokodrc\u00e1 do p\u0159\u00edstavu sice jen tak tak, ale p\u0159esn\u011b v tom \u010dase, aby mohl Jack vystoupit bez namo\u010den\u00ed bot. Zm\u00ednku si zaslou\u017e\u00ed i prvot\u0159\u00eddn\u00ed absurdn\u00ed humor, kter\u00fd \u010dasto vznik\u00e1 do\u0159eknut\u00edm \u010di \u00fasm\u011bvnou doslovnost\u00ed a hrou s jazykem (\u201eV\u0161ichni jsme mu\u017ei slova \u2013 a\u017e na Elizabeth, kter\u00e1 je \u017eena.\u201c). Proklet\u00ed \u010cern\u00e9 perly se dosud plav\u00ed hrd\u011b jako nejlep\u0161\u00ed dobrodru\u017en\u00fd film tohoto mil\u00e9nia. A ostatn\u00ed za n\u00ed nezaost\u00e1vaj\u00ed o tolik.\u00a0<\/p>\n","protected":false},"excerpt":{"rendered":"S koncem roku 2025 se n\u00e1m uzav\u0159elo prv\u00e9 \u010dtvrtstolet\u00ed nov\u00e9ho tis\u00edcilet\u00ed, co\u017e je b\u00e1je\u010dn\u00e1 p\u0159\u00edle\u017eitost k tomu vybrat…\n","protected":false},"author":2,"featured_media":17639,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[79,9070,9069,80],"class_list":{"0":"post-17638","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-zabava","8":"tag-entertainment","9":"tag-tema","10":"tag-tema-25-nejlepsich-filmu-21-stoleti-podle-krauseta","11":"tag-zabava"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@cz\/116191997644485404","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/posts\/17638","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/comments?post=17638"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/posts\/17638\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/media\/17639"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/media?parent=17638"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/categories?post=17638"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/tags?post=17638"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}