{"id":287605,"date":"2026-09-07T08:11:15","date_gmt":"2026-09-07T08:11:15","guid":{"rendered":"https:\/\/www.europesays.com\/lv\/287605\/"},"modified":"2026-09-07T08:11:15","modified_gmt":"2026-09-07T08:11:15","slug":"virietibas-rentgens-parspriezam-filmu-dzimsanas-dienas-svinibas-un-serialu-pusvirs-raksts","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/lv\/287605\/","title":{"rendered":"V\u012briet\u012bbas rentgens. P\u0101rsprie\u017eam filmu \u00abDzim\u0161anas dienas svin\u012bbas\u00bb un seri\u0101lu \u00abPusv\u012brs\u00bb \/ Raksts"},"content":{"rendered":"

K\u0101 kust\u012bgaj\u0101 att\u0113l\u0101 tiek \u0161\u0137etin\u0101ts maskulinit\u0101tes spektra pla\u0161ums un da\u017e\u0101d\u012bba? Lai to noskaidrotu, kino apskatnieki D\u0101rta Ceri\u0146a un \u017dulijens Nuhums Kulibali Latvijas Radio raid\u012bjum\u0101 “Kur kriti\u0137iem nav vietas” apsprie\u017e sp\u0101\u0146u re\u017eisora Migela Anhela Himenesa psiholo\u0123isko dr\u0101mu “Dzim\u0161anas dienas svin\u012bbas” ar Vilemu Defo despotiska miljardiera lom\u0101 un daudzs\u0113riju filmu “Pusv\u012brs”, kas risina aktieru Ri\u010darda Gada un D\u017eeimija Bella atveidoto br\u0101\u013cu l\u012bdzatkar\u012bbas dueli tr\u012bs desmitga\u017eu garum\u0101.<\/p>\n

\u017dulijens Nuhums Kulibali: Sveika, D\u0101rta! \u0160oreiz m\u016bsu uzman\u012bbas centr\u0101 \u2013 sp\u0101\u0146u re\u017eisora Migela Anhela Himenesa dr\u0101ma “Dzim\u0161anas dienas svin\u012bbas”, k\u0101 ar\u012b jau k\u0101du laici\u0146u \u0113ter\u0101 eso\u0161ais seri\u0101ls vai dr\u012bz\u0101k daudzs\u0113riju m\u0101kslas filma “Pusv\u012brs”, kas, es dom\u0101ju, joproj\u0101m kairina skat\u012bt\u0101jiem smadze\u0146u garozu. Vismaz man.<\/p>\n

D\u0101rta Ceri\u0146a: S\u0101ksim ar diskusijas iekustino\u0161o darbu “Dzim\u0161anas dienas svin\u012bbas”. \u0160is darbs ir skat\u0101ms Latvijas kinote\u0101tros no 28.\u00a0augusta.<\/p>\n

Atsau\u010du audekls film\u0101 “Dzim\u0161anas dienas svin\u012bbas”<\/p>\n

Sp\u0101\u0146u autora Migela Anhela Himenesa dr\u0101ma “Dzim\u0161anas dienas svin\u012bbas” ir Eiropas kino telp\u0101 sastopamais “eiropudi\u0146\u0161” \u2013 \u0161o terminu izmanto kino aprind\u0101s, lai apz\u012bm\u0113tu daudzu valstu kopra\u017eojumu, kur\u0101 apvienoju\u0161ies aktieri, re\u017eisori un finans\u0113t\u0101ji no da\u017e\u0101d\u0101m Eiropas valst\u012bm. Filmas centr\u0101 ir eksecentrisks varas un gribas v\u012brs \u2013 grie\u0137u ku\u0123niec\u012bbas magn\u0101ts Markoss Timoleons \u2013, kur\u0161 pavada dienas paput\u0113ju\u0161\u0101 otraj\u0101 laul\u012bb\u0101, intrigantu un nodev\u0113ju lok\u0101.<\/p>\n

\n

Visas darbojo\u0161\u0101s personas run\u0101s Eiropas ang\u013cu valod\u0101 un risina “hameleonu rota\u013cas”.<\/p>\n<\/blockquote>\n

Markosa vien\u012bgais lolojums ir izlepus\u012b un savu neatkar\u012bbu patriarha \u0113n\u0101 zaud\u0113jus\u012b meita Sofija. Gaidot vi\u0146as 25.\u00a0dzim\u0161anas dienu, tit\u0101ns r\u012bko v\u0113rien\u012bgas dz\u012bres, kas p\u0101rraksta \u0123imenes asinssaites. Migela Anhela Himenesa filma ac\u012bmredzami ir iem\u012bl\u0113jusies sav\u0101 atsau\u010du t\u012bkl\u0101 \u2013 70.\u00a0gadu est\u0113tik\u0101, “bag\u0101tie ar\u012b raud” p\u0101rsp\u012bl\u0113jum\u0101, nekritisk\u0101 rokm\u016bzikas un popbal\u0101\u017eu izmantojum\u0101, Mikeland\u017eelo Antonioni un Luk\u012bno Viskonti piem\u0113ros \u2013, tom\u0113r, vai t\u0101 m\u0113\u0123ina risin\u0101t filmas varo\u0146u attiec\u012bbas?<\/p>\n

Kriti\u0137i v\u0113rt\u0113<\/p>\n

D\u0101rta Ceri\u0146a: Vai tu atminies kulta fran\u0161\u012bzi “Emanu\u0113la”?<\/p>\n

\u017dulijens Nuhums Kulibali: N\u0113, ta\u010du nosaukums vien mani vedina uz grezniem interjeriem, sast\u012bvin\u0101t\u0101m matu sasuk\u0101m, brok\u0101ta audumiem, apvainojumiem, kas ir aukst\u0101ki par visaukst\u0101ko \u0161ampanieti. Vai es esmu tr\u0101p\u012bjis desmitniek\u0101?<\/p>\n

D\u0101rta Ceri\u0146a: Tu esi \u013coti tuvu! Varb\u016bt k\u0101ds v\u0113l atminas 1990.\u00a0gados \u013coti daudzskat\u012bto un izr\u0101d\u012bto fran\u010d\u012bzi. Tas ir fran\u010du kinodarbs, kas pied\u0101v\u0101ja prec\u0113to fran\u010du sievieti un vi\u0146as seksu\u0101lo atbr\u012bvo\u0161anos. Noskatoties “Dzim\u0161anas dienas svin\u012bbas”, es sapratu, ka t\u0101m ir \u013coti daudz kop\u012bg\u0101 ar “Emanu\u0113lu” un “eiropudi\u0146a” fenomenu. Tas nav akad\u0113misks termins, bet to izmanto nozares profesion\u0101\u013ci, lai raksturotu Eiropas kinodarbus, kur ir satecin\u0101ta vesela Eiropas B\u0101bele aktieru lok\u0101, un visi cilv\u0113ki run\u0101 ar \u013coti sp\u0113c\u012bgu akcentu ang\u013cu valod\u0101. Ar\u012b pats filmas uzst\u0101d\u012bjums vai m\u0113r\u0137is paliek maznoz\u012bm\u012bgs, jo centr\u0101 ir \u0161ie skaistie Eiropas skati.<\/p>\n

\n

Nu, l\u016bk, “Emanu\u0113la”, “eiropudi\u0146\u0161”\u2026 \u017dulijen, k\u0101ds ir tavs iespaids, noskatoties “Dzim\u0161anas dienas svin\u012bbas”?<\/p>\n<\/blockquote>\n

\u017dulijens Nuhums Kulibali: Pirmk\u0101rt, es dom\u0101ju, ka s\u0101kum\u0101 ir j\u0101atkl\u0101j, ka bez \u0161aub\u0101m \u0161\u012b ir aktieru izv\u0113l\u0113 motiv\u0113ta filma. \u0160\u012b ir ar\u012b filma, kas seko Himenesa filmai “Skats uz j\u016bru”, kas izn\u0101ca pirms se\u0161iem gadiem. Un \u0161is ir ar\u012b darbs, kas ir izr\u0101d\u012bts p\u0113rn Lokarno kinofestiv\u0101l\u0101 \u2013 diezgan presti\u017e\u0101 kino izrad\u012b\u0161anas viet\u0101. (..) Varb\u016bt tu vari ieskic\u0113t, par ko visp\u0101r “Dzim\u0161anas dienas svin\u012bbas” ir? Kam tur visp\u0101r ir dzim\u0161anas diena galu gal\u0101?<\/p>\n

\"kadrs<\/p>\n

Foto: publicit\u0101tes att\u0113ls<\/p>\n

kadrs no filmas “Dzim\u0161anas dienas svin\u012bbas”<\/p>\n<\/p>\n

D\u0101rta Ceri\u0146a: (..) “Dzim\u0161anas dienas svin\u012bbas” ir kamerdr\u0101ma. Darb\u012bba norisin\u0101s aristoteliskaj\u0101 trad\u012bcij\u0101 \u2013\u00a024 stundu laik\u0101 noteikt\u0101 viet\u0101, s\u0101kas ar saules rietu un ar\u012b sav\u0101 zi\u0146\u0101 beidzas ar saules rietu, \u2013 \u013coti fizisku un simbolisku. (..) \u0160\u012b filma ir balst\u012bta 2007.\u00a0gada rom\u0101n\u0101 ar t\u0101du pa\u0161u nosaukumu, ko sarakst\u012bjis grie\u0137u Panoss Karnezis, bet rom\u0101ns pied\u0101v\u0101ja Markosu k\u0101 cilv\u0113ku, kur\u0161 ir iekarojis savu ce\u013cu pats \u2013<\/p>\n

\n

vi\u0146\u0161 ir tas varonis, kur\u0161 ar sav\u0101m kailaj\u0101m rok\u0101m ir izracis j\u016bru, un tas par\u0101da v\u012bri\u0161\u0137\u012bbas performanci k\u0101 likumsakar\u012bgu vi\u0146a briedum\u0101, kad vi\u0146\u0161 ir izaukl\u0113jis savu vien\u012bgo meitu, kurai aprit 25 gadi.<\/p>\n<\/blockquote>\n

\u017dulijens Nuhums Kulibali: Un vi\u0146ai ar\u012b ir t\u0101 dzim\u0161anas diena?<\/p>\n

D\u0101rta Ceri\u0146a: J\u0101, vi\u0146a ir t\u0101 gavi\u013cniece. Filma it k\u0101 uzl\u016bko Marosku \u2013 Vilema Defo varoni \u2013 k\u0101 antagonistu, bet taj\u0101 pa\u0161\u0101 laik\u0101 vi\u0146u \u0101rk\u0101rt\u012bgi estetiz\u0113, stiliz\u0113 un padara vi\u0146u par t\u0101du k\u0101 Vidusj\u016bras pleiboju, es pat teiktu. T\u0101tad hedonistisk\u0101 t\u0113tuka lom\u0101 mums ir mums ir amerik\u0101\u0146u klasi\u0137is Vilems Defo, meitas lom\u0101 \u2013 d\u0101\u0146u aktrise Vika Karmena Sonna, kuru m\u0113s paz\u012bstam no filmas “Meitene ar adatu”. Otr\u0101s sievas lom\u0101 ir sp\u0101niete Emma Huareza, bet britu biogr\u0101fa Iana Forstera lom\u0101 ir anglis D\u017eo Kols. Te es lieku punktu, jo k\u0101 var b\u016bt t\u0101da uzv\u0101rda sakrit\u012bba ar Foresteru dinastiju no “Hameleonu rota\u013c\u0101m”? J\u0101, izklaus\u0101s, ka m\u0113s varb\u016bt ironiz\u0113jam par \u0161o darbu, bet ir t\u0101da saj\u016bta, ka ar\u012b pats darbs sevi kari\u0137\u0113.<\/p>\n

\n

Un tas, ka filmas dialogi sast\u0101v no fr\u0101z\u0113m “Tu izskaties labi”, “T\u0113ti, t\u0113ti”, “Laipni l\u016bgti man\u0101 sal\u0101”, turkl\u0101t t\u0101s atk\u0101rtojas neticami daudz, iet paral\u0113l\u0113 ar\u012b ar Tomija Viso kulta filmu “Istaba”.<\/p>\n<\/blockquote>\n

\"kadrs<\/p>\n

Foto: publicit\u0101tes att\u0113ls<\/p>\n

kadrs no filmas “Dzim\u0161anas dienas svin\u012bbas”<\/p>\n<\/p>\n

\u017dulijens Nuhums Kulibali: (Smejas.) Ap Defo att\u0113loto Markosu Timoleonu ir apt\u012bta si\u017eetisk\u0101 stieple, ta\u010du to nek\u0101d\u0101 veid\u0101 nevar saukt par t\u0113lu izp\u0113ti vai rakstur\u0101 b\u0101z\u0113tu st\u0101stniec\u012bbu. Mums it k\u0101 form\u0101li tiek atkl\u0101ta galven\u0101 t\u0113la trauma, un \u0161aj\u0101 gad\u012bjum\u0101 filma ar to ar\u012b s\u0101kas. Dom\u0101ju, ka es neko neizboj\u0101\u0161u, atkl\u0101jot, ka ir miris k\u0101du laiku atpaka\u013c patriarha vien\u012bgais d\u0113ls, un mums form\u0101li tiek iez\u012bm\u0113ta ar\u012b kaut k\u0101da ietekmes shematika, kas notiek \u0161ajos garajos, poz\u012bcijas vajadz\u012bb\u0101m neticami pak\u0101rtotajos dialogos. Paral\u0113li ar t\u0101diem abstraktiem kadriem mums ar\u012b tiek su\u0123est\u0113ta doma par kaut k\u0101du neredzamu t\u0113lu \u2013 par spiegu, par k\u0101du tre\u0161o, kas to visu v\u0113ro no malas. Ta\u010du nekas no t\u0101 visa nerealiz\u0113jas. No vienas puses filmu var\u0113tu kritiz\u0113t par to, ka t\u0101 it k\u0101 pied\u0101v\u0101 jau it k\u0101 paz\u012bstamu shematiku, bet tad iet pavisam citu ce\u013cu. T\u0101 var\u0113tu dar\u012bt, ja \u0161is ce\u013c\u0161 kaut kur vestu. \u0160aj\u0101 gad\u012bjum\u0101 gan tas neved piln\u012bgi nekur, ja vien neskaita m\u012blest\u012bbu pret atsauc\u0113m un kaut k\u0101da veida stiliz\u0101ciju.<\/p>\n

\n

1975.\u00a0gads te atplaukst ne tikai mod\u0113, bet ar\u012b m\u012blest\u012bb\u0101 pret britu rokgrupu “The Animals”. Ta\u010du netr\u016bkst ar\u012b t\u0101du joc\u012bgu anahronismu, kas ir sav\u0101di darb\u0101, kas tik ac\u012bmredzami v\u0113las skat\u012bt\u0101ju iegremd\u0113t autentisk\u0101 sava gadsimta vid\u0113,<\/p>\n<\/blockquote>\n

piem\u0113ram, \u013coti ilustrat\u012bvaj\u0101 ska\u0146u celi\u0146\u0101. Ja nu gad\u012bjum\u0101 j\u016bs nesaprat\u0101t, ko film\u0101 noz\u012bm\u0113 k\u0101ds skatiens, neuztraucieties, jo p\u0113c min\u016btes vai pat v\u0113l \u0101tr\u0101k skano\u0161\u0101 dziesma to visu paskaidros. Bet film\u0101 izskan ar\u012b, piem\u0113ram, Glorijas Geinoras dziesma “I Will Survive”, kas 1975.\u00a0gad\u0101 glu\u017ei vienk\u0101r\u0161i nebija v\u0113l uzrakst\u012bta.<\/p>\n

D\u0101rta Ceri\u0146a: Ir \u013coti p\u0101rprotama ar\u012b v\u0113lme veidot citu kol\u0113\u0123u \u2013 nu jau aizg\u0101ju\u0161o \u2013 vizu\u0101lo valodu un atsve\u0161in\u0101jumu, kur\u0101 run\u0101tais v\u0101rds sevi neattaisno. T\u0101pat ir j\u016btama v\u0113lme doties Lukino Viskonti dekadences virzien\u0101, kur katra darb\u012bba un katrs varonis, un katra, k\u0101 lai saka, ar\u012b par\u0101d\u012b\u0161an\u0101s raksturo sabiedr\u012bbu, no kuras \u0161ie cilv\u0113ki n\u0101k. Mums ir dots \u013coti daudz \u0161aj\u0101 film\u0101, bet es pat teiktu, ka t\u0101s dr\u012bz\u0101k ir standarta situ\u0101cijas par despotisko t\u0113vu un vi\u0146a izlepu\u0161o, gaid\u012bb\u0101s eso\u0161o meitu, kurai v\u0113l ir \u0161is nodev\u012bbas akts, bet taj\u0101 pa\u0161\u0101 laik\u0101 vi\u0146a v\u0113las ieg\u016bt br\u012bv\u012bbu. Tom\u0113r vi\u0146ai ar\u012b pat\u012bk \u0161\u012b kontrole, un tur izveidojas jau \u013coti labi noe\u013c\u013cota un redzama dihotomija.<\/p>\n

\"kadrs<\/p>\n

Foto: publicit\u0101tes att\u0113ls<\/p>\n

kadrs no filmas “Dzim\u0161anas dienas svin\u012bbas”<\/p>\n<\/p>\n

\u017dulijens Nuhums Kulibali: Pa\u0161\u0101 filmas tekst\u0101 notiek \u013coti liela pa\u013cau\u0161an\u0101s uz skat\u012bt\u0101ja iepriek\u0161\u0113jo pieredzi \u2013 uz caurumu aizl\u0101p\u012b\u0161anu. K\u0101d\u0101 mirkl\u012b skatoties filmu, es nodom\u0101ju \u2013 kur ir \u0161\u012b robe\u017ea starp l\u0101p\u012b\u0161anu un jau jaunas dr\u0113bes ad\u012b\u0161anu?<\/p>\n

D\u0101rta Ceri\u0146a: Run\u0101jot par ad\u012b\u0161anu, es tie\u0161i savus pierakstos, gatavojoties \u0161ai sarunai, biju pierakst\u012bjusi “k\u0101rt\u0113j\u0101 alegorija par toksiskaj\u0101m vec\u0101ku un b\u0113rnu attiec\u012bb\u0101m, “\u0113diet bag\u0101tos” kritika un dialogiem, kurus var\u0113tu iz\u0161\u016bt krustd\u016brien\u0101 uz d\u016brai\u0146iem, lai d\u0101vin\u0101tu radiniekiem silt\u0101k\u0101m ziem\u0101m”.<\/p>\n

\u017dulijens Nuhums Kulibali: Vien\u0101 mirkl\u012b man lik\u0101s, ka var\u0113tu b\u016bt ar\u012b k\u0101ds gl\u0101bi\u0146\u0161. Proti, m\u0113s film\u0101 diezgan \u0101tri saprotam, ka t\u0101 ir butaforija un putuplasts, kas tur ir redzams, un ka nekur t\u0101l\u0101k \u0161ajos dialogos un va\u013csird\u012bgaj\u0101s atz\u012b\u0161an\u0101s fr\u0101z\u0113s, kas vienk\u0101r\u0161i lido pa labi un pa kreisi, m\u0113s netiksim.<\/p>\n

\n

T\u0101p\u0113c man \u0161\u0137ita, ka, iesp\u0113jams, \u0123imenes draugs \u2013 \u0101rsts \u2013 it k\u0101 form\u0101li var\u0113tu b\u016bt \u0161\u012b tre\u0161\u0101 puse, kas var\u0113tu mums atv\u0113rt \u0161o attiec\u012bbu z\u012bm\u0113jumu.<\/p>\n<\/blockquote>\n

D\u0101rta Ceri\u0146a: J\u0101, k\u013c\u016bstot par m\u016bsu logu.<\/p>\n

\u017dulijens Nuhums Kulibali: Ta\u010du \u0161\u012b iesp\u0113ja, glu\u017ei k\u0101 tik daudzas citas, nav izmantota. \u0160ai filmai to z\u0101rka v\u0101ku uzlika filmas fin\u0101ls \u2013 galvenais nosl\u0113pums vai notikums. K\u0101 jau gaid\u012bts un k\u0101 grie\u0137u tra\u0123\u0113dija mudina dom\u0101t, lai gan \u0161im darbam ar grie\u0137u tra\u0123\u0113diju nav \u012bsti nek\u0101da sakara, patriarha l\u0113mums veido kaut k\u0101du visbrut\u0101l\u0101ko iesp\u0113jamo r\u012bc\u012bbu, bet galu gal\u0101 t\u0101 nek\u0101d\u0101 veid\u0101 emocion\u0101li nerezon\u0113, jo nepamet saj\u016bta, ka \u0161ie cilv\u0113ki nav \u012bsti. (..)<\/p>\n

Pusbr\u0101\u013cu sare\u017e\u0123\u012bt\u0101s attiec\u012bbas seri\u0101l\u0101 “Pusv\u012brs”<\/p>\n

“Zelta puis\u0113ns” Ri\u010dards Gads pied\u0101v\u0101 jaunu daudzs\u0113riju m\u0101kslas filmu “Pusv\u012brs”, kuru ir produc\u0113ju\u0161i telev\u012bzijas mil\u017ei “HBO” un BBC. Skotu re\u017eisora, dramaturga, scen\u0101rista un aktiera Ri\u010dards Gada v\u0101rds daudziem, visticam\u0101k, b\u016bs paz\u012bstams k\u0101 daudzs\u0113riju m\u0101kslas filmas “Zieme\u013cbrie\u017eu mazulis” autors \u2013 vi\u0146\u0161 bija 2024. gad\u0101 popul\u0101r\u0101 “Netflix” darba re\u017eisors, scen\u0101rists un galven\u0101s lomas atveidot\u0101js.<\/p>\n

\n

Daudzs\u0113riju filma sa\u0146\u0113ma se\u0161as “Emmy” un divas “Zelta globusa” balvas, k\u0101 ar\u012b k\u013cuva par vienu no apspriest\u0101kajiem t\u0101 gada ekr\u0101na notikumiem.<\/p>\n<\/blockquote>\n

Jaun\u0101kaj\u0101 darb\u0101 “Pusv\u012brs” Ri\u010dards Gads risina sev tuv\u0101s, paz\u012bstam\u0101s t\u0113mas \u2013 varas, identit\u0101\u0161u un seksualit\u0101tes dinamiku divu jaunu v\u012brie\u0161u dz\u012bv\u0113s cauri laikam un abu ce\u013c\u0101 uz briedumu. Darba centr\u0101 ir divi pusbr\u0101\u013ci \u2013 Nails, kur\u0161 m\u0113\u0123ina izk\u013c\u016bt no l\u012bdzatkar\u012bbas cilpas un domin\u0113jo\u0161\u0101 R\u016bbena ietekmes. Ri\u010dards Gads p\u0101rliecino\u0161i analiz\u0113 to, k\u0101 viens cilv\u0113ks vienlaikus var b\u016bt tavs aizst\u0101vis, tuv\u0101kais draugs, gandr\u012bz br\u0101lis un cilv\u0113ks, no kura tu visvair\u0101k baidies.<\/p>\n

Kriti\u0137i v\u0113rt\u0113<\/p>\n

\u017dulijens Nuhums Kulibali: D\u0101rta, Ri\u010dards Gads burtiski tika uz\u0161auts slavas zen\u012bt\u0101 2024.\u00a0gad\u0101, un tas lielais jaut\u0101jums bija \u2013 ar ko gan sekot? Jo “Zieme\u013cbrie\u017eu mazulis” bija t\u0101da unik\u0101la mikst\u016bra ar \u013coti sk\u0101bu, asu humoru un debiliz\u0113jo\u0161u atkl\u0101t\u012bbu. \u0160\u0137iet, ka \u0161eit ir paliku\u0161as da\u017eas no t\u0101m kvalit\u0101t\u0113m, ta\u010du \u0161is tas ir ar\u012b main\u012bjies. K\u0101 tu skaties uz “Pusv\u012bru”? Vai tev \u0161\u0137iet, ka tu j\u016bti \u0161o p\u0113ctec\u012bbu?<\/p>\n

D\u0101rta Ceri\u0146a: Raksturojot Ri\u010dardu Gadu, ir b\u016btiski atg\u0101din\u0101t, ka vi\u0146\u0161 ir gan te\u0101tra, gan kino re\u017eisors, gan dramaturgs, gan scen\u0101rists, gan producents, gan aktieris. Un, run\u0101jot par “Zieme\u013cbrie\u017eu mazuli” un vi\u0146a jaun\u0101ko darbu, svar\u012bg\u0101kais ir tas, ka Gads ir viens no tiem m\u0101ksliniekiem, kas vispirms run\u0101 par person\u012bgo pieredzi, ko vi\u0146\u0161 pats ir piedz\u012bvojis un izgriezis cauri saviem kauliem, savai iek\u0161\u0113jo org\u0101nu sist\u0113mai. Tad vi\u0146\u0161 to visu p\u0101rraksta un izliek scen\u0101rija lap\u0101s. L\u016bkojoties no \u0161\u0101das perspekt\u012bvas, “Zieme\u013cbrie\u017eu mazulis” ir viens no maniem 2024. gadiem pieredzi kart\u0113jo\u0161iem darbiem. Protams, b\u016btu netaisni tagad sal\u012bdzin\u0101t Jupiteru ar Merk\u016bru, tom\u0113r “Pusv\u012brs” turpina \u0161o l\u012bdzatkat\u012bbas, ind\u012bgo cilpu un toksisko attiec\u012bbu st\u012bgu, kas bija “Zieme\u013cbrie\u017eu mazul\u012b”.<\/p>\n

\n

M\u0113\u0123in\u0101jums analiz\u0113t divas da\u017e\u0101das v\u012briet\u012bbas un konceptus, izv\u0113loties divus pusbr\u0101\u013cus, veido sava veida sabalso\u0161anos ar “Zieme\u013cbrie\u017eu mazuli” un ar\u012b ar v\u0113l citu darbu \u2013 “Pusaudz\u012bbu”, kas ir “Netflix” seri\u0101ls.<\/p>\n<\/blockquote>\n

\"kadrs<\/p>\n

Foto: publicit\u0101tes att\u0113ls<\/p>\n

kadrs no seri\u0101la “Pusv\u012brs”<\/p>\n<\/p>\n

\u017dulijens Nuhums Kulibali: Pati Ri\u010darda Gada kl\u0101b\u016btne vien\u0101 no pusbr\u0101\u013cu lom\u0101m, sasaista \u0161o visu kop\u0101, t\u0101pat k\u0101 toksisk\u0101s cilpas un l\u012bdzatkar\u012bba. Es teiktu, ka ar\u012b Lielbrit\u0101nijas soci\u0101l\u0101s tekst\u016bras ir kl\u0101teso\u0161as. \u0160aj\u0101 gad\u012bjum\u0101 gan run\u0101 ir par 1980. un 1990.\u00a0gadu stiliz\u0101ciju Edinburg\u0101, bet, j\u0101, fon\u0101 ir v\u012brietis. “Pusv\u012br\u0101” m\u0113s tie\u0161\u0101m varam run\u0101t par v\u012brie\u0161u b\u016b\u0161anu un t\u0101 visa disekciju. Ja “Zieme\u013cbrie\u017eu mazul\u012b” v\u0113l tika dots gana daudz tum\u0161i komisk\u0101, tad “Pusv\u012brs”, man \u0161\u0137iet, iet jau sol\u012bti uz t\u0101du t\u012bri dramatisku materi\u0101lu un krietni vair\u0101k run\u0101 tie\u0161\u0101 valod\u0101. Ta\u010du tas nezaud\u0113 ar\u012b savu \u0161oka faktoru. \u0160is ir st\u0101sts par diviem pusbr\u0101\u013ciem, un st\u0101sts viss tiek risin\u0101ts gredzenveida kompoz\u012bcij\u0101, ta\u010du neline\u0101ri. T\u0101tad \u2013 m\u0113s sekojam l\u012bdzi aktieriem pusaudz\u012bb\u0101, agr\u0101 v\u012briet\u012bb\u0101 un nosac\u012bt\u0101 pusm\u016b\u017e\u0101.<\/p>\n

\n

Vi\u0146u attiec\u012bbu dinamika ir patiesi l\u012bdzatkar\u012bga \u2013 t\u0101 sv\u0101rst\u0101s no teju seksu\u0101las intimit\u0101tes l\u012bdz fiziskai un ar\u012b emocion\u0101lai vardarb\u012bbai.<\/p>\n<\/blockquote>\n

L\u012bdz\u012bgi k\u0101 “Zieme\u013cbrie\u017eu mazul\u012b”, galvenie t\u0113li izraisa emp\u0101tiju, bet neraisa simp\u0101tijas. J\u0101saka, ka es \u013coti nov\u0113rt\u0113ju \u0161\u012bs dinamikas notur\u0113\u0161anu ilg\u0101 form\u0101t\u0101.<\/p>\n

D\u0101rta Ceri\u0146a: Es piekr\u012btu. B\u016btiski ir v\u0113lreiz atz\u012bm\u0113t to, ka “Pusv\u012brs” ir risin\u0101ts un ritin\u0101ts neline\u0101r\u0101 manier\u0113. M\u016bsu atskaites punkts ir Naila k\u0101zas, kur\u0101s k\u0101 tum\u0161s bru\u0146inieks uz motocikla ierodas Ri\u010darda Gada atveidotais R\u016bbens. Viss turpm\u0101kais ir t\u0101di k\u0101 atskati pag\u0101tn\u0113, atkal atgrie\u017eoties pie m\u016bsdienu saasin\u0101juma un koncentr\u0101cijas momenta. Mums k\u0101 skat\u012bt\u0101jiem tiek iez\u012bm\u0113ts ne tikai tas, k\u0101 varo\u0146i ir laika gait\u0101 main\u012bju\u0161ies, bet ar\u012b tas, k\u0101 vi\u0146i nav main\u012bju\u0161ies.<\/p>\n

\"kadrs<\/p>\n

Foto: publicit\u0101tes att\u0113ls<\/p>\n

kadrs no seri\u0101la “Pusv\u012brs”<\/p>\n<\/p>\n

\u017dulijens Nuhums Kulibali: Atsaucoties uz m\u016bsu iepriek\u0161 recenz\u0113to darbu, ja “Dzim\u0161anas dienas svin\u012bbas” izliekas par tra\u0123\u0113diju, es teiktu, ka “Pusv\u012brs” patiesi ir tra\u0123\u0113dija. Se\u0161u s\u0113riju laik\u0101 tiek uztur\u0113ta \u0161\u012b neizb\u0113gam\u012bbas atmosf\u0113ra, un, paties\u012bbu sakot, t\u0101 tiek pieteikta jau darba pirmaj\u0101s min\u016bt\u0113s. Es dom\u0101ju, ka, atmetot atrisin\u0101juma intrigu, Gads ir sp\u0113jis piev\u0113rst uzman\u012bbu, manupr\u0101t, svar\u012bg\u0101kajam, kas ir \u0161aj\u0101 seri\u0101l\u0101, proti, dinamikas izp\u0113tei. Mani \u013coti iepriecina ar\u012b izv\u0113le nestiliz\u0113t vardarb\u012bbu vai nestiliz\u0113t manipulat\u012bvo saikni starp abiem br\u0101\u013ciem. Ja m\u0113s run\u0101jam par “Pusaudz\u012bbu”, taj\u0101 gad\u012bjum\u0101 man lik\u0101s, ka tur krietni vair\u0101k ir par maskulinit\u0101tes aso pu\u0161u ietekmi pla\u0161\u0101k\u0101 sabiedr\u012bb\u0101, bet \u0161aj\u0101 gad\u012bjum\u0101 man patiesi \u0161\u0137iet, ka ir runa par toksisko cilpu ietekmi uz konkr\u0113tiem cilv\u0113kiem.<\/p>\n

\n

Dr\u012bz\u0101k t\u0101 ir t\u0101da ferment\u0101cijas v\u0113ro\u0161ana tuvpl\u0101n\u0101. “Pusv\u012bru” krietni maz\u0101k interes\u0113 sabiedriskais konteksts vai \u0123imenes dinamika, kas, lai gan tiek iez\u012bm\u0113ta un nav diez ko izstr\u0101d\u0101ta, kas ir viens no v\u0101j\u0101kajiem punktiem \u0161aj\u0101 darb\u0101.<\/p>\n<\/blockquote>\n

\u0160o darbu vair\u0101k interes\u0113 tie\u0161i form\u0101l\u0101 izv\u0113le veidot divus pretpolus \u2013 varm\u0101ku un manipulatoru \u2013 un da\u017e\u0101dos meh\u0101nismus, k\u0101 fundament\u0101li nedro\u0161i v\u012brie\u0161i m\u0113\u0123ina mijiedarboties ar pasauli. Nosl\u0113dzot, j\u0101saka, ka \u0161\u012b atpaka\u013cskata maniere diem\u017e\u0113l ar\u012b pa\u0123\u0113r to, ka notiek t\u0101da k\u0101 viena to\u0146a sp\u0113le, kas var b\u016bt ar\u012b nogurdino\u0161a. “Pusv\u012brs”, \u0161\u0137iet, ir parabola par maskulinit\u0101tes ide\u0101liem no 1980. un 1990.\u00a0gadiem un to, k\u0101 tas galu gal\u0101 p\u0101rmantojas ar\u012b m\u016bsdien\u0101s.<\/p>\n

D\u0101rta Ceri\u0146a: V\u0113los izcelt b\u016btisku seri\u0101la kodu, ko R\u016bbens nemit\u012bgi atk\u0101rto Nailam jau kop\u0161 b\u0113rn\u012bbas un pusaudz\u012bbas \u2013 tu esi mans br\u0101lis no citas m\u012blnieces. \u0160is skait\u0101mpanti\u0146\u0161 ieg\u016bst da\u017e\u0101das \u2013 vietumis pat \u0161ausmino\u0161as un iej\u016bt\u012bgas \u2013 aprises. Manupr\u0101t, tas ir \u013coti veiksm\u012bgs dramatur\u0123iskais atskaites punkts, k\u0101 uzl\u016bkot \u0161o \u013coti sare\u017e\u0123\u012bto un s\u0101p\u012bgo attiec\u012bbu dinamiku. “Pusv\u012brs” ir Ri\u010darda Gada emocion\u0101lais rentgens, un m\u0113s ar \u017dulijenu esam pateic\u012bgi un priec\u012bgi\u2026 Varb\u016bt tas nav glu\u017ei tas v\u0101rds, ko izmantot, raksturojot \u0161o skat\u012b\u0161an\u0101s pieredzi, bet, m\u016bsupr\u0101t, \u0161is seri\u0101ls ir diskusijas v\u0113rts.<\/p>\n

Vair\u0101k<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"K\u0101 kust\u012bgaj\u0101 att\u0113l\u0101 tiek \u0161\u0137etin\u0101ts maskulinit\u0101tes spektra pla\u0161ums un da\u017e\u0101d\u012bba? Lai to noskaidrotu, kino apskatnieki D\u0101rta Ceri\u0146a un…\n","protected":false},"author":2,"featured_media":287606,"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-287605","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\/117228751713690075","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/posts\/287605","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=287605"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/posts\/287605\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/media\/287606"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/media?parent=287605"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/categories?post=287605"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/tags?post=287605"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}