Rendező:
Malgorzata SzumowskaOperatőr:
Michal EnglertSzereplők:
Janusz Gajos, Maja Ostaszewska, Justyna Suwala, Ewa Dalkowska, Adam Woronowicz, Tomasz Ziętek, Malgorzata Hajewska-Krzysztofik, Roman Gancarczyk (több)Tartalmak(1)
Egy halottkémet nem könnyű megdöbbenteni, hozzászokott a kegyetlen bűncselekményekhez, extrém helyzetekhez, és az sem lepi meg, ha egy halottnak gondolt, akasztott férfi egyszer csak saját lábán távozik a bűntett színhelyéről - nyakában a kötéllel. A középkorú férfi számára is sokkal inkább lánya anorexiája old megoldhatatlan feladatot, aki szélsőségesen és önmagát sanyargatva gyászolja édesanyját. Az apa teljesen elveszettnek és tehetetlennek érzi magát, s attól tartva, hogy tinédzser lánya halálra éhezteti magát, inkább egy pszichiátriai klinikára viszi, ahol Anna veszi kezelésbe. Ám Anna maga is egészen szélsőségesen küzd a saját démonjaival és veszteségével, és meglehetősen szokatlan és zavarba ejtő módszerekkel igyekszik betegeit a gyógyulás útjára terelni. (Vertigo Média)
(több)Recenziók (5)
(50th KVIFF) With its inconspicuous humour that doesn’t draw any attention to itself, and which in fact many people can overlook in a serious drama about serious things, Body reminded me a little of Hausner. The film felt particularly detached, but kind at the same time – which is a little contradictory, and I’ve no idea how Szumowská managed it. Above-average for the festival, no doubt. 70 %
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Such brilliant directing is not often seen. Every shot considered to the smallest detail, every perspective, change of tone, and an atmosphere based on a clear and completed intention. A subtle film about prefabricated spiritualism, crisis of faith, reconciliation with the pain and senseless cruelty of reality, and the search for lost closeness in an apartment where the spirits of the dead reside. The triumph of economical acting and the comedic talent of Janis Gajos. Inconspicuously clever, overwhelming, because it speaks about the most serious things with unprecedented ease and tender sarcasm - with one single mistake... an unnecessarily stretched and slightly awkward conclusion. But even so, the Berlin Directing Award could not have landed in a better place. #kviff
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A screenwriter's house of cards that tries to mask the calculating nature of the plot by needlessly adding situations and supporting characters that ultimately make no sense, only making you wonder if they're not perhaps there to round out the film's running time. When the plot needs to move forward, it uses the oldest of methods to do so (for example, we need a character to do something she would never do otherwise, so we get her drunk), making the overall point of the film, which feels like an ironic smirk and a wave of the hand, all the more unamusing. The cinematography does what it can, and some scenes could definitely be lent to a capable film, this in itself is a stinking bore.
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A bizarre movie. At least for me it was. Bizarre not only because of certain scenes, but mainly because most of the time the plot was moving as slowly as frozen honey, and yet I somehow couldn't stop watching. Janusz Gajos gave an excellent performance as usual, and I was confirmed again in my distrust of psychologists.
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This slightly spiritual drama, despite a good dose of black humor, sounds very pessimistic throughout, only to take on an optimistic tone at the very end, raising hope for a better tomorrow. The song that plays in the background is just perfect. (70%)
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