![\"\u201eRenov\u0101cija\u201d.](\"https:\/\/www.europesays.com\/lv\/wp-content\/uploads\/2026\/08\/6a8bdfdc55c86_1763737171.jpg\")
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Vai var pierast pie urb\u0161anas trok\u0161\u0146iem septi\u0146os no r\u012bta? Un pie t\u0101, ka neesi tik \u201elabs\u201d, veiksm\u012bgs un rezultat\u012bvs, k\u0101 citi sagaida? Un vai tas tie\u0161\u0101m noz\u012bm\u0113, ka neesi labs, vai tom\u0113r tev pa\u0161am dr\u012bkst b\u016bt savs v\u0113rt\u012bbu m\u0113rs?<\/p>\n
Renov\u0101cija \/ Renovation (2025) ir lietuvie\u0161u re\u017eisores Gabrieles Urbonaites pirm\u0101 pilnmetr\u0101\u017eas filma, un t\u0101 jau godalgota ar asto\u0146u festiv\u0101lu balv\u0101m. Iepriek\u0161 Urbonaite rad\u012bjusi vair\u0101kas \u012bsfilmas; starp t\u0101m ir Atpaka\u013c \/ Back (2016), kur nolas\u0101ma atsauce uz pa\u0161as pieredzi, p\u0113c studij\u0101m ASV atgrie\u017eoties dzimtaj\u0101 Vi\u013c\u0146\u0101, un Peld\u0113t\u0101ja \/ Plaukike (2013), kur galven\u0101 varone risina iek\u0161\u0113ju spriedzi un attiec\u012bbas ar citiem. Re\u017eisore nor\u0101da<\/a>, ka ar\u012b filmas Renov\u0101cija ideja n\u0101k no pa\u0161as pieredzes, saj\u016btot spiedienu, ka tr\u012bsdesmit gadu vecum\u0101 dz\u012bvei j\u0101b\u016bt perfekti sak\u0101rtotai.<\/p>\n Filmas galven\u0101 varone Ilona p\u0113c profesijas ir tulkot\u0101ja, p\u0113c aicin\u0101juma dzejniece, bet rakstur\u0101 \u2013 perfekcioniste. Vi\u0146a izj\u016bt milz\u012bgu spiedienu par to, kam dz\u012bv\u0113 j\u0101b\u016bt izdar\u012btam, sasniedzot tr\u012bsdesmit gadu vecumu, un vi\u0146ai ir divdesmit devi\u0146i, t\u0101p\u0113c spiediens ir neizturams. P\u0113c gandr\u012bz divu gadu attiec\u012bb\u0101m ar Vi\u013c\u0146as v\u0113sturisko ekskursiju gidu Matu abi iev\u0101cas kop\u012bg\u0101 \u012bpa\u0161um\u0101 \u2013 tr\u012bsistabu dz\u012bvokl\u012b blokm\u0101j\u0101. Kam\u0113r draugi k\u013c\u016bst par pazi\u0146\u0101m, apprecas, ieg\u0101d\u0101jas m\u0101jas un audzina b\u0113rnus, t\u0101tad katr\u0101 zi\u0146\u0101 ir \u201elab\u0101ki\u201d par Ilonu, vi\u0146as ikdiena p\u0101rv\u0113r\u0161as par ieslodz\u012bjumu trok\u0161\u0146os, prokrastin\u0101cij\u0101 un \u0161aub\u0101s. M\u0101jai tiek uzs\u0101kta renov\u0101cija, viens no str\u0101dniekiem ir O\u013cegs, kur\u0161 n\u0101k no Ukrainas un interes\u0113jas par m\u0101kslu, l\u012bdz ar to pats ir interesants Ilonai. Vi\u0146a visvair\u0101k v\u0113las justies pietiekama un izdar\u012bjusi visu, ko sagaida no cilv\u0113ka tr\u012bsdesmit gadu vecum\u0101,<\/p>\n vismaz\u0101k vi\u0146a v\u0113las atrasties p\u0101rb\u016bves stadij\u0101, ta\u010du tie\u0161i tas tagad notiek.<\/p>\n<\/blockquote>\n Jau pa\u0161\u0101s pirmaj\u0101s filmas min\u016bt\u0113s iez\u012bm\u0113jas vismaz tr\u012bs b\u016btiski problem\u0101tikas aspekti. Viena aina \u2013 filmas s\u0101kum\u0101 galven\u0101 varone Ilona pie jaun\u0101s m\u0101jas, kur\u0101 nupat iev\u0101ku\u0161ies, m\u0113\u0123ina perfekti novietot auto, vi\u0146as draugs Mats to, liekas, nesaprot, starp abiem iez\u012bm\u0113jas zin\u0101ms konflikts, nesaska\u0146a un neizpratne. Mata teiktais \u201cperfekti\u201d Ilonai nenoz\u012bm\u0113 itin neko, vi\u0146a joproj\u0101m apsver, k\u0101 b\u016btu var\u0113jusi nost\u0101ties lab\u0101k.<\/p>\n Otrs aspekts \u2013 Ilona tiek pieteikta k\u0101 tulkot\u0101ja. S\u0101kum\u0101 t\u0101 var likties neb\u016btiska inform\u0101cija, ta\u010du filmas gait\u0101 atkl\u0101jas, ka tulkot\u0101jas identit\u0101tei l\u012bdz\u0101s ir dzejnieces identit\u0101te, kuru ekr\u0101na varone ne tikai piesaka O\u013cegam (Ilonas draugs nemaz nezina, ka vi\u0146a draudzene raksta dzeju), bet to ar\u012b piln\u012bb\u0101 atkl\u0101j, negrib\u012bgi, tom\u0113r nolasot vi\u0146am dzejoli.<\/p>\n Tre\u0161k\u0101rt \u2013 ma\u0161\u012bnas novieto\u0161anas aina vair\u0101k izgaismo p\u0101ra konfliktu, nevis Ilonas raksturu, bet p\u0101r\u0113jie perfekcionisma izpausmju kadri, kas seko cits aiz cita, uzsver to k\u0101 Ilonas galveno rakstura iez\u012bmi. Un tai ir j\u0101piev\u0113r\u0161 uzman\u012bba, jo filmas laik\u0101 sevi\u0161\u0137i daudz nekas cits par Ilonas \u012bpa\u0161\u012bb\u0101m neatkl\u0101sies.<\/p>\n Filmas centr\u0101l\u0101 varone j\u016btas visnota\u013c viena, nesaprasta un pazudusi. \u0160\u0137iet, ka visa pasaule ir pret vi\u0146u \u2013 t\u0101 Ilona uztver visu, kas notiek ar citiem. Pazi\u0146as apprec\u0113\u0161an\u0101s nor\u0101da uz Ilonas neveiksmi, gados jaun\u0101kas tulkot\u0101jas pirm\u0101s gr\u0101matas apbalvo\u0161ana nor\u0101da uz to, ka Ilonai tr\u016bkst talanta… T\u012b\u0161i vai net\u012b\u0161i, bet san\u0101k, ka visi, kas ierodas m\u0101j\u0101s no \u0101rpuses, ir kaut k\u0101d\u0101 m\u0113r\u0101 draud\u012bgi. Ir nolas\u0101ms, ka pa\u0161kritisko skat\u012bjumu uz sevi, \u0161\u0101du izj\u016btu, ka Ilona nekad nav pietiekami laba, vi\u0146ai ied\u0113st\u012bjusi m\u0101te, un jaun\u0101 sieviete to ir internaliz\u0113jusi. Ja vi\u0146a neraksta perfektu dzeju, tad nemaz nav \u012bsta dzejniece, \u2013 par to Ilona film\u0101 taisnojas vair\u0101kk\u0101rt.<\/p>\n Kad kadr\u0101 notiek jebk\u0101da mijiedarbe starp Ilonu un Matu, to vienm\u0113r pavada spriedze \u2013 briesto\u0161s konflikts, tikko bijis konflikts, vai protagonistes iek\u0161\u0113jais konflikts. S\u0101kum\u0101 tie ir at\u0161\u0137ir\u012bgi viedok\u013ci par to, k\u0101 pavad\u012bt ikdienu, zinot, ka l\u012bdz\u0101s notiek kar\u0161. V\u0113l\u0101k par\u0101d\u0101s Ilonas aizkaitin\u0101jums par iev\u0101k\u0161anos un s\u0101p\u012bg\u0101 atsk\u0101rsme, kur atkl\u0101jas, ka Mata skat\u012bjum\u0101 iev\u0101k\u0161an\u0101s jaunaj\u0101 m\u0101j\u0101 bija nol\u016bks dz\u012bvot kop\u0101, kam\u0113r Ilonai galvenais m\u0113r\u0137is ir ofiss m\u0101j\u0101s, lai var\u0113tu turpm\u0101k nestr\u0101d\u0101t kafejn\u012bc\u0101s un bibliot\u0113k\u0101s; dr\u012bz uzliesmo Ilonas impulsivit\u0101te p\u0113c satik\u0161an\u0101s ar mammu, un t\u0101 visas filmas garum\u0101. Interesanti, ka vis\u0101s \u0161aj\u0101s situ\u0101cij\u0101s Mata pieeja situ\u0101cij\u0101m ir mier\u012bga, l\u012bdzsvarota, nosv\u0113rta. Vi\u0146\u0161 ir samierin\u0101jies ar dz\u012bves nenoteikt\u012bbu jau filmas s\u0101kum\u0101, kam\u0113r Ilonai ejams viss filmas ce\u013c\u0161, lai to sasniegtu. \u0100rpus ikdieni\u0161\u0137iem, \u012bsiem saskrie\u0161an\u0101s br\u012b\u017eiem gar\u0101kas sarunas starp Ilonu un Matu liel\u0101koties (film\u0101 \u010detras reizes) notiek \u0113dienreiz\u0113s vai virtuv\u0113. T\u0101 k\u0101 jau pirmaj\u0101s min\u016bt\u0113s iez\u012bm\u0113jas p\u0101ra konflikts un visas filmas laik\u0101 nav t\u0101da br\u012b\u017ea, kur\u0101 abi b\u016btu apmierin\u0101ti un saska\u0146\u0101, rodas iespaids, ka attiec\u012bbu pozit\u012bv\u0101 da\u013ca ir palikusi vien atmi\u0146\u0101s \u2013 taj\u0101s, ko galven\u0101 varone piemin ain\u0101 p\u0113c seksa, un taj\u0101s, kas fiks\u0113tas fotogr\u0101fij\u0101s pie ledusskapja. T\u0101 ir laim\u012bga pag\u0101tne, nestabila tagadne un gr\u016bti izt\u0113lojama n\u0101kotne, kura… abiem kop\u0101 nav iesp\u0113jama.<\/p>\n Ukrainas t\u0113ma film\u0101 ien\u0101k pamaz\u0101m, t\u0101 vienm\u0113r par\u0101d\u0101s ikdien\u0101 t\u0101d\u0101 vai cit\u0101d\u0101 veid\u0101 \u2013 ar zi\u0146\u0101m un facebook ritin\u0101\u0161anu, ar Ukrainas karogu k\u0101dam pie loga, ar b\u016bvstr\u0101dnieku O\u013cegu, ar kritu\u0161ajiem pazi\u0146\u0101m, ar burtu \u201cZ\u201d, ko k\u0101ds uzp\u016btis uz m\u0101jas durv\u012bm, bet O\u013cegs aizkr\u0101so, slepkavo\u0161anas atbalsta viet\u0101 z\u012bm\u0113jot divus putni\u0146us Ukrainas karoga kr\u0101s\u0101s. Laista klaj\u0101 2025. gad\u0101, filma ataino notikumus 2023. gada s\u0101kum\u0101 un vid\u016b, kam\u0113r skat\u012bt\u0101js 2026. gad\u0101 apjau\u0161, k\u0101 main\u012bjusies m\u016bsu attieksme pret karu un notikumiem l\u012bdz\u0101s. Tikai t\u0101p\u0113c, ka kara izj\u016btas intensit\u0101te ikdien\u0101 ir pavisam bl\u0101va, re\u0101l\u0101 karadarb\u012bba nav k\u013cuvusi bl\u0101v\u0101ka, ne ar\u012b fiziski t\u0101l\u0101ka. Mats uztur dz\u012bvu padomju agresijas piemi\u0146u, vadot v\u0113sturiskas t\u016bres Vi\u013c\u0146\u0101, bet O\u013cega t\u0113ls r\u0101da, ka v\u0113sture turpin\u0101s vai atk\u0101rtojas, tas nav nosl\u0113dzies process, par ko reflekt\u0113t. Tas ir re\u0101ls process, kas tiek ierauts tagadn\u0113.<\/p>\n Filmas laik\u0101 Ilonas sej\u0101 ir daudz apjukuma, reiz\u0113m par\u0101d\u0101s prieks \u2013 viens t\u0101ds br\u012bdis ir tad, kad vi\u0146a mammai r\u0101da savu istabu-ofisu, bet visi p\u0101r\u0113jie \u2013 br\u012b\u017ei, ko vi\u0146a pavada ar O\u013cegu. Film\u0101 Ilonas bals\u012b skat\u012bt\u0101jam tiek pied\u0101v\u0101ti \u010detri dzejo\u013ci. Tie ilustr\u0113 filmas centr\u0101l\u0101 t\u0113la iek\u0161\u0113jo p\u0101rdz\u012bvojumu, par kuru m\u0113s cit\u0101d\u0101k \u012bsti nedzirdam v\u0101rdos, vien redzam gr\u016bti at\u0161ifr\u0113jam\u0101 sejas izteiksm\u0113, nep\u0101rliecino\u0161os l\u0113mumos un \u0161aud\u012bg\u0101 skatien\u0101. T\u0101pat k\u0101 Ukrainas t\u0113ma par\u0101d\u0101s caur ikdienu, k\u0101 neizb\u0113gami zib\u0161\u0146i ikdien\u0101 par\u0101d\u0101s ar\u012b da\u017e\u0101di sabiedr\u012bbas spiediena un ekspekt\u0101ciju sign\u0101li \u2013 mamma un soci\u0101lie t\u012bkli, pazi\u0146a ball\u012bt\u0113, videozvan\u0101 draudzene no Oslo, kaimi\u0146u tante, un taml\u012bdz\u012bgi. Visi Ilonai nor\u0101da, ka vi\u0146a atpaliek no citiem, ka ar vi\u0146as dz\u012bvi kaut kas nav k\u0101rt\u012bb\u0101, \u2013 iz\u0146emot norv\u0113\u0123u draudzeni tie\u0161saist\u0113, kura saka, ka Ilona vi\u0146ai vienm\u0113r \u0161\u0137itusi nobriedusi un priek\u0161\u0101 visiem. Un varb\u016bt nobrie\u0161anas paz\u012bme ir ar\u012b sp\u0113ja pateikt, ka nezini, ko gribi.<\/p>\n Kad filmas asto\u0146padsmitaj\u0101 min\u016bt\u0113 pirmoreiz par\u0101d\u0101s O\u013cegs, no kura Ilona nob\u012bstas, ir skaidrs, ka vi\u0146\u0161 nav c\u0113lonis attiec\u012bbu sabrukumam, vi\u0146\u0161 ir tikai katalizators. Filmas varones sej\u0101 iezogas smaids, kad vi\u0146a uzzina, ka O\u013cegs kaut ko zina par m\u0101kslu un pats ar to nodarbojies. Vi\u0146a apgalvo, ka ir dzejniece, kam\u0113r par tulkot\u0101jas profesiju klus\u0113. K\u0101 skat\u012bt\u0101ji m\u0113s pirmo reizi uzzin\u0101m, ka vi\u0146a raksta dzeju. Kad renov\u0101cijas proces\u0101 par\u0101d\u0101s O\u013cegs, Ilona no Mata att\u0101lin\u0101s aizvien vair\u0101k. Vi\u0146as kl\u0101tesam\u012bba k\u013c\u016bst aizvien vair\u0101k fiziska, vi\u0146as dusmas pieaug, vi\u0146as perfekcionisms liek p\u0101rvietot Mata nolikto gl\u0101zi, kura nav uz palikt\u0146a, not\u012bra gl\u0101zes atst\u0101to mitruma apl\u012bti. Kad film\u0101 pirmo reizi dzirdams galven\u0101s varones dzejolis, kadru sec\u012bba liek dom\u0101t, ka iedvesma n\u0101k tie\u0161i no O\u013cega, lai ar\u012b pats saka, ka slikta ietekme ar sm\u0113\u0137\u0113\u0161anu, laba ietekme uz to, ka dzejolis top. Ilona nesp\u0113j paskaidro, kas nav k\u0101rt\u012bb\u0101, kad Mats to vaic\u0101. Vi\u0146\u0101 kaut kas ir salauzts, perfekcionisma kadrus nomaina tot\u0101ls haoss.<\/p>\n K\u0101 jau teikts, Ukraina, sabiedr\u012bbas spiediena un taml\u012bdz\u012bgas t\u0113mas film\u0101 neien\u0101k p\u0113k\u0161\u0146i, toties pavisam p\u0113k\u0161\u0146i kop\u0101 ar negaid\u012btajiem Mata vec\u0101kiem par\u0101d\u0101s maskulinit\u0101tes l\u012bnija. Mata t\u0113vs aicina d\u0113lu uz izdz\u012bvo\u0161anas kursiem, kuros sagatavo, k\u0101 r\u012bkoties iebrukuma gad\u012bjum\u0101; \u201cpat ja nes\u0101ksies kar\u0161, b\u016bsi iem\u0101c\u012bjies kaut ko, kas j\u0101prot v\u012brietim\u201d. Uzreiz p\u0113c tam O\u013cegs salabo izlietni, v\u0113l\u0101k Mats cen\u0161as par\u0101d\u012bt, ka ar\u012b ko prot, un uzst\u0101da lampi\u0146u du\u0161\u0101. Ilonai p\u0113k\u0161\u0146i it k\u0101 rodas konkr\u0113ts priek\u0161stats par to, ko vi\u0146a v\u0113las no v\u012brie\u0161a, \u2013 vi\u0146ai vajag O\u013cega perfekt\u0101s rokas, kuras var salabot itin visu, nevis \u0161\u0137ietami v\u0101rgo, apjuku\u0161o Matu, kuru filmas laik\u0101 piemekl\u0113 vair\u0101kas traumas (tom\u0113r O\u013cega g\u016bto traumu Ilona apr\u016bp\u0113 t\u0101, k\u0101 nekad r\u016bpes neizr\u0101da Matam). B\u016btu grib\u0113jies, lai maskulinit\u0101tes aspekts film\u0101 b\u016btu vair\u0101k izv\u0113rsts, cit\u0101di tas atst\u0101j neskaidr\u012bbas un apmulsumu.<\/p>\n Uz izp\u0113ti un paral\u0113\u013cu vilk\u0161anu aicina t\u0101s ainas, kur\u0101s notiek da\u017e\u0101das mijiedarbes ar kaimi\u0146iem. K\u0101 filmas kontekst\u0101 las\u012bt \u0161os kadrus? Vai tie skat\u0101mi saist\u012bb\u0101 ar Ilonu vai tom\u0113r no\u0161\u0137irti? Kad appl\u016bdu\u0161\u0101 dz\u012bvok\u013ca \u012bpa\u0161niecei, tantei ar sun\u012bti, prasa, vai vi\u0146ai ir k\u0101ds, pie k\u0101 palikt pa nakti, vi\u0146a r\u016bgti nosaka \u2013 visi ir prom; lai gan visu dz\u012bvi esi r\u016bp\u0113jies par citiem, beig\u0101s t\u0101pat esi viens. Vai \u0161is j\u0101uztver saist\u012bb\u0101 ar Ilonu? Ka nevajag \u201edz\u012bvot citiem\u201d? Vai, piem\u0113ram, kad O\u013cegs Ilonai r\u0101da fotogr\u0101fiju ar tr\u012bspadsmit gadus veco meitu, galven\u0101 varone saka \u2013 vi\u0146\u0161 bijis \u013coti jauns, kad meita piedzima; O\u013cegs atbild \u2013 \u201cvarb\u016bt p\u0101r\u0101k jauns\u201d. Tas ir interesants aspekts \u2013 vai O\u013cega t\u0113ls r\u0101da, ka ir j\u0101risk\u0113 un j\u0101dara, pat ja ir bail un j\u016bties nepieaudzis, jo t\u0101ds br\u012bdis, kad jut\u012bsies pieaudzis, nemaz nepien\u0101ks? Vai ar\u012b vi\u0146\u0161 r\u0101da, ka agr\u0101s jaun\u012bbas sasteigtie l\u0113mumi v\u0113l\u0101k visu dz\u012bvi velkas l\u012bdzi un lab\u0101k b\u016btu bijis nogaid\u012bt?<\/p>\n Filmas vizualit\u0101te ir p\u0101rliecino\u0161a un sp\u0113c\u012bga, deta\u013cas nosl\u012bp\u0113tas,<\/p>\n autores v\u0113lme film\u0113t uz 16mm filmas \u0161\u0137iet attaisnota un saprotama.<\/p>\n<\/blockquote>\n Viens no vizu\u0101li sp\u0113c\u012bg\u0101kajiem br\u012b\u017eiem ir jau filmas s\u0101kum\u0101, kad Ilona nogrie\u017e istabas augam lapi\u0146as un iztaisno sa\u0161\u0137iebto kameru, caur kuru raug\u0101mies uz vi\u0146as darb\u012bbu. Veiksm\u012bgi ir atk\u0101rtojuma elementi ar kaimi\u0146u p\u0101ri, atmi\u0146\u0101 paliek dzejo\u013ca teksta par kr\u012bto\u0161\u0101m bumb\u0101m sabalso\u0161an\u0101s ar pl\u012bsto\u0161\u0101 stikla troksni blakusistab\u0101. Filmas temps ir l\u0113ns un mier\u012bgs, nekas nav sasteigts, un Urbonaite prasm\u012bgi izv\u0113l\u0113jusies br\u012b\u017eus, kuros skat\u012bt\u0101jam sniegt atslodzes kadrus ar vides ain\u0101m. Sp\u0113c\u012bga ir ar\u012b aina, kur filmas varone apl\u016bko pazi\u0146as perfekto dz\u012bvi soct\u012bklos \u2013 gredzens, pa\u0161ai sava m\u0101ja… Intensit\u0101t\u0113 pieaugot, dzirdami urbja trok\u0161\u0146i, un, k\u0101pinot kontrastu starp citu dz\u012bves \u0161\u0137ietamo sak\u0101rtot\u012bbu un Ilonas dz\u012bves haosu, vi\u0146a internet\u0101 apskata iz\u012br\u0113jamus dz\u012bvok\u013cus. Atspulgi un nospiedumi ir esenci\u0101li svar\u012bgi \u0161\u012bs filmas vizualit\u0101t\u0113.<\/p>\n Ta\u010du da\u017ei aspekti film\u0101 ir ap\u0161aub\u0101mi. Kad viss ir sabrucis un galven\u0101 varone palikusi viena, vi\u0146as hist\u0113risk\u0101 uzved\u012bba \u0161\u0137iet iestud\u0113ta un ne\u012bsta. Tai gr\u016bti notic\u0113t, jo visas filmas garum\u0101 starp vi\u0146u un Matu nav bijis neviena prieka un miera br\u012b\u017ea, vi\u0146a kl\u0101tb\u016btn\u0113 Ilona nekad nav bijusi apmierin\u0101ta. Devi\u0146padsmit zvani Matam dr\u012bz\u0101k liecina par k\u0101du d\u012bvainu aps\u0113st\u012bbu, nevis paties\u0101m j\u016bt\u0101m. Nav skaidra Ilonas iek\u0101rot\u0101s maskulinit\u0101tes izcelsme, loma, virziens. O\u013cega person\u012bba film\u0101 \u012bsti neatkl\u0101jas, vi\u0146\u0161 ir cilv\u0113ks bez \u012bpa\u0161\u012bb\u0101m, uz kuru apjukus\u012b protagoniste projic\u0113 savu fant\u0101ziju.<\/p>\n Filma r\u0101da, ka, b\u016bdams jauns, cilv\u0113ks v\u0113l c\u012bn\u0101s ar b\u0113rn\u012bbas traum\u0101m, vienlaikus piedz\u012bvo sabiedr\u012bbas spiedienu dz\u012bvot pareizu dz\u012bvi, kur\u0101 pie\u013caujams tikai viens modelis, un cauri tam visam cen\u0161as izrakties l\u012bdz savai pat\u012bbai, saprast, ko vi\u0146\u0161 pats \u012bsten\u012bb\u0101 grib un negrib. T\u0101 ir m\u016bsdienu cilv\u0113kam paz\u012bstama un re\u0101la kr\u012bze. Lai ar\u012b kinematogr\u0101fiski piln\u012bgi cit\u0101da, tematiski l\u012bdz\u012bga ir Alises Zari\u0146as filma Blakus <\/a>(2019), ar\u012b cit\u0101 recenzij\u0101<\/a> jau piemin\u0113t\u0101 Pasaul\u0113 slikt\u0101kais cilv\u0113ks \/ The Worst Person in the World<\/a> (2021). Tas, kas notiek film\u0101, ir skum\u012bgi un bez atrisin\u0101juma, jo dz\u012bvei jau ar\u012b nav atrisin\u0101juma. Tom\u0113r, k\u0101 saka filmas galven\u0101 varone, pie dz\u012bves nenoteikt\u012bbas var pierast, t\u0101pat k\u0101 var pierast pie urb\u0161anas katru dienu septi\u0146os no r\u012bta. <\/p>\n\n
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<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"Vai var pierast pie urb\u0161anas trok\u0161\u0146iem septi\u0146os no r\u012bta? Un pie t\u0101, ka neesi tik \u201elabs\u201d, veiksm\u012bgs un…\n","protected":false},"author":2,"featured_media":276341,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_share_on_mastodon":"0"},"categories":[19],"tags":[89,90,35,39,38,36,37,34,40],"class_list":["post-276340","post","type-post","status-publish","format-standard","has-post-thumbnail","category-izklaide","tag-entertainment","tag-izklaide","tag-latvia","tag-latvian","tag-latviesu","tag-latviesu-valoda","tag-latviesuvaloda","tag-latvija","tag-lv"],"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@lv\/117149746552953484","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/posts\/276340","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=276340"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/posts\/276340\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/media\/276341"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/media?parent=276340"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/categories?post=276340"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/tags?post=276340"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}