Divi kinodarbi par \u0123imen\u0113m \u2013 D\u017e\u0101rmu\u0161a antolo\u0123ija un \u017dao dr\u0101ma<\/p>\n
Latvijas Radio raid\u012bjum\u0101 “Kur kriti\u0137iem nav vietas” kino kriti\u0137i D\u0101rta Ceri\u0146a un \u017dulijens Nuhums Kulibali analiz\u0113 divus kardin\u0101li at\u0161\u0137ir\u012bgus, ta\u010du vienojo\u0161us kinodarbus, kas p\u0113ta \u0123imenes t\u0113mu: amerik\u0101\u0146u neatkar\u012bg\u0101 kino re\u017eisora D\u017eima D\u017e\u0101rmu\u0161a \u012bsst\u0101stu antolo\u0123iju “T\u0113vs m\u0101te m\u0101sa br\u0101lis” un “Oskara” balvas nominanti, re\u017eisores Hlojas \u017dao dr\u0101mu “Hamnets”. K\u0101 inform\u0113 Latvijas Sabiedriskie Mediji, sarun\u0101 tika izcelti abu filmu at\u0161\u0137ir\u012bgie skat\u012bjumi uz \u0123imenes strukt\u016br\u0101m un to sare\u017e\u0123\u012bt\u012bbu.<\/p>\n
D\u017e\u0101rmu\u0161s sav\u0101 jaun\u0101kaj\u0101 darb\u0101 piev\u0113r\u0161as \u0123imenei tradicion\u0101l\u0101kaj\u0101 izpratn\u0113, p\u0113tot neizb\u0113gamas strukt\u016bras, no kur\u0101m nav iesp\u0113jams aizb\u0113gt. Filmas pirmaj\u0101 novel\u0113 t\u0113vs saviem pieaugu\u0161ajiem b\u0113rniem saka: “J\u016btieties k\u0101 m\u0101j\u0101s,” ta\u010du \u0161is aicin\u0101jums skan gandr\u012bz ironiski, nor\u0101dot uz att\u0101lumu un atsve\u0161in\u0101t\u012bbu, kas var rasties pat starp vistuv\u0101kajiem cilv\u0113kiem. Kriti\u0137i atz\u012bm\u0113, ka D\u017e\u0101rmu\u0161a filma pied\u0101v\u0101 unik\u0101lu melanholijas un r\u016bgta humora kokteili, ko papildina izcilu aktieru sniegums.<\/p>\n
\u00abHamnets\u00bb: \u0160eksp\u012bra \u0123imenes tra\u0123\u0113dija un m\u0101kslas dziedino\u0161ais sp\u0113ks<\/p>\n
Savuk\u0101rt Hlojas \u017dao dr\u0101ma “Hamnets” iel\u016bkojas Viljama \u0160eksp\u012bra \u0123imen\u0113, piev\u0113r\u0161oties d\u0113la Hamneta zaud\u0113jumam un t\u0101 ietekmei uz slaven\u0101 dramaturga dai\u013cradi. Filma, kas balst\u012bta uz Megijas O’Farelas rom\u0101nu, ir sa\u0146\u0113musi “Zelta globusu” k\u0101 lab\u0101k\u0101 dr\u0101mas filma un ir nomin\u0113ta asto\u0146\u0101m “Oskara” balv\u0101m. \u017dao sav\u0101 darb\u0101 p\u0113ta m\u012blest\u012bbas sare\u017e\u0123\u012bt\u012bbu un m\u0101kslas dziedino\u0161o sp\u0113ku, uzsverot, ka bailes no n\u0101ves trauc\u0113 pilnv\u0113rt\u012bgai dz\u012bvei. Filmas galven\u0101 varone ir \u0160eksp\u012bra sieva Agnese, ko atveido D\u017eesija Baklija, kura par savu sniegumu sa\u0146\u0113musi “Zelta globusa” balvu.<\/p>\n
\u0122imene k\u0101 metafora un realit\u0101te kino<\/p>\n
\u017dulijens Nuhums Kulibali raid\u012bjum\u0101 nor\u0101da, ka abi apskat\u012btie darbi saist\u012bti ar \u0123imenes t\u0113mu, ta\u010du to atveidojums ir \u013coti at\u0161\u0137ir\u012bgs \u2013 no emocion\u0101li uzl\u0101d\u0113tas l\u012bdz pat atsve\u0161in\u0101tas attiec\u012bbu anal\u012bzei. Vi\u0146\u0161 uzsver, ka D\u017e\u0101rmu\u0161s, p\u0113c daudzu gadu st\u0101stiem par alternat\u012bv\u0101m \u0123imen\u0113m, \u0161oreiz piev\u0113r\u0161as tradicion\u0101lajai \u0123imenes izpratnei k\u0101 neizb\u0113gamai strukt\u016brai. Re\u017eisors run\u0101 par tuv\u0101m attiec\u012bb\u0101m, kad varo\u0146iem vairs ne\u0161\u0137iet, ka vi\u0146iem ir kas kop\u012bgs.<\/p>\n
D\u0101rta Ceri\u0146a piebilst, ka abi darbi ir aktu\u0101li balvu sezon\u0101, un to anal\u012bze atkl\u0101j gan D\u017e\u0101rmu\u0161a unik\u0101lo kino valodu, gan \u017dao sp\u0113ju emocion\u0101li dzi\u013ci atkl\u0101t cilv\u0113ka b\u016bt\u012bbu.<\/p>\n
Kino kritikas aina Latvij\u0101 un pasaul\u0113<\/p>\n
Diskusija par D\u017e\u0101rmu\u0161a un \u017dao film\u0101m notika Latvijas Radio raid\u012bjum\u0101 “Kur kriti\u0137iem nav vietas”, ko vada D\u0101rta Ceri\u0146a un \u017dulijens Nuhums Kulibali. \u0160is raid\u012bjums ir viens no platform\u0101m, kur Latvijas kino kriti\u0137i apl\u016bko aktu\u0101los kinodarbus, analiz\u0113jot tos gan lok\u0101l\u0101, gan glob\u0101l\u0101 kontekst\u0101. Abi kriti\u0137i regul\u0101ri sniedz savus v\u0113rt\u0113jumus par jaun\u0101kaj\u0101m film\u0101m, piedaloties ar\u012b citos mediju projektos.<\/p>\n
Par film\u0101m<\/p>\n
D\u017eima D\u017e\u0101rmu\u0161a filma “T\u0113vs m\u0101te m\u0101sa br\u0101lis” ir \u012bsst\u0101stu antolo\u0123ija, kas izp\u0113ta da\u017e\u0101das cilv\u0113cisko attiec\u012bbu un \u0123imenes dinamikas \u0161\u0137autnes. Hlojas \u017dao dr\u0101ma “Hamnets” ir biogr\u0101fiska filma par Viljama \u0160eksp\u012bra \u0123imeni, kas fokus\u0113jas uz d\u0113la Hamneta zaud\u0113jumu un t\u0101 iespaidu uz \u0160eksp\u012bra rad\u012bto lugu “Hamlets”. “Hamnets” ir sa\u0146\u0113musi pla\u0161u kriti\u0137u atzin\u012bbu un vair\u0101kas nomin\u0101cijas presti\u017eiem kino apbalvojumiem.<\/p>\n","protected":false},"excerpt":{"rendered":"Divi kinodarbi par \u0123imen\u0113m \u2013 D\u017e\u0101rmu\u0161a antolo\u0123ija un \u017dao dr\u0101ma Latvijas Radio raid\u012bjum\u0101 “Kur kriti\u0137iem nav vietas” kino…\n","protected":false},"author":2,"featured_media":126545,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_share_on_mastodon":"0"},"categories":[19],"tags":[28557,89,18563,26137,90,5881,35,39,38,36,37,34,40,28558],"class_list":["post-126544","post","type-post","status-publish","format-standard","has-post-thumbnail","category-izklaide","tag-dzims-dzarmuss","tag-entertainment","tag-hamnets","tag-hloja-zao","tag-izklaide","tag-kino-kritika","tag-latvia","tag-latvian","tag-latviesu","tag-latviesu-valoda","tag-latviesuvaloda","tag-latvija","tag-lv","tag-tevs-mate-masa-bralis"],"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@lv\/116040570212657510","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/posts\/126544","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/comments?post=126544"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/posts\/126544\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/media\/126545"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/media?parent=126544"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/categories?post=126544"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/tags?post=126544"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}