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Tomáš Vorel st.Operatőr:
Marek JíchaZeneszerző:
Michal VíchSzereplők:
Tomáš Hanák, Barbora Nimcová-Schlesinger, Michal Vorel, Anežka Kušiaková, Luba Skořepová, Bolek Polívka, Eva Holubová, Leoš Suchařípa, Alena Štréblová (több)Streaming (1)
Tartalmak(1)
Tomáš Vorel's autobiographical comedy continues the darkly grotesque theme he introduced in Stone Bridge, this time around in the lighter tone. A divorced programmer - the director's alter ego, once again played by Tomáš Hanák - tries to liberate himself FROM his hectic city life. He and his son take off to the country and under the influence of a burgeoning love he begins to get back in touch with nature. An unfortunate mistake, however, forces his untimely return. (forgalmazó hivatalos szövege)
(több)Recenziók (4)
I like this film better and better with each viewing. Why? Because only Tomáš Vorel can bring cellar poetics to the screen so that it does not feel awkward and does not lose its infantile charm. Out of the City is a film with a beautifully naïve (and I dare say deliberately naïve) story of escaping civilization, beautifully naïve and playful music, a beautiful lead, a beautiful color stylization (I love those autumn colors!) and humor that personally works for me. The acting performances of both actors and non-actors are admirably matched into typical cellar overacting, some of the lines are very impressive in their directness, and when Vicar Hnilička takes the stage, I get into almost religious ecstasy. It's a nice plaything that is able to get to me...
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Likely a life performance by Tomáš Hanák in an unforgettable movie with a great soundtrack and an atmosphere that doesn't fade even after several viewings. Although I am a city dweller and not ashamed of it, I am pleasantly surprised to praise Vorl for really bringing out that longing for the village from me for a few tens of minutes.
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With Out of the City, the classic era of Tomáš Vorel came to a close. Everything was still in its place - Hanák in the lead role, and the beautiful Bára Nimcová-Schlesinger adorned the film and was as ethereal as Hana Tallerová. The songs were cute, fun, and educational. The frustration with the overly technological world was resolved quite easily, but unfortunately not definitively. But that's the way life is. Around the year 2000, nothing special happened, except perhaps that we dedicated our lives and artworks to the altars of the age of technical reproducibility.
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Interest in nature and the countryside is something that I quite understand and accept about Tomáš Vorel. In contrast to the modern and over-technologized world of big cities, the calmness of the countryside stands out, which is somehow reconciled with everything. It is much closer to nature and thus also to people. The acting performances are terrible, and Hanák shows that he is not an exceptional actor, but I rather think that this is what Vorel wanted from him. It fits into his films. I can't say that this film directly enchanted me, but I like it and understand why the countryside is portrayed in this way.
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