I veckan publicerade BBC en lista över de hundra bästa filmerna regisserade av kvinnor. Vi var
över 300 kritiker och andra som deltog från hela världen. Jag skrev en text om Věra Chytilovás "Tusenskönorna", en av mina favoritfilmer, eftersom
den hamnade på 25-i-topp:
"Herbert
Eagle, a film professor specializing in Eastern European cinema, once wrote
that when the films of Věra Chytilová became available to a wider audience,
“Daisies” would be regarded as a masterpiece. Eagle has been proven right, but
it was a long time coming. Even though Chytilová’s feature length debut from
1966 was hailed by Jacques Rivette in 1968 – and was an influence on his own
“Celine and Julie Go Boating” 1974 – “Daisies” remained in a cult film-ghetto
and mainly screened at feminist festivals.
“Daisies” might be seen as harmless fun now; and fun it is with all the jazz-dancing, slapstick and food fights. But in communist Czechoslovakia the anarchistic escapades of the two female protagonists were scandalous. Marie and Marie are portrayed as “dolls” who revolt and wreak havoc on institutionalized gender roles and consumer culture.
Today it is obvious that “Daisies”, a collaborative effort of the finest artists in the Czechoslovak New Wave, with avantgarde montage, beautiful set design and superb photography, was amongst the best films to come out of that decade.
The communist censors labeled “Daisies” as "depicting the wanton" – and it still hasn´t lost a sliver of that delightful wanton."
“Daisies” might be seen as harmless fun now; and fun it is with all the jazz-dancing, slapstick and food fights. But in communist Czechoslovakia the anarchistic escapades of the two female protagonists were scandalous. Marie and Marie are portrayed as “dolls” who revolt and wreak havoc on institutionalized gender roles and consumer culture.
Today it is obvious that “Daisies”, a collaborative effort of the finest artists in the Czechoslovak New Wave, with avantgarde montage, beautiful set design and superb photography, was amongst the best films to come out of that decade.
The communist censors labeled “Daisies” as "depicting the wanton" – and it still hasn´t lost a sliver of that delightful wanton."
En fotnot till detta är tystnaden i svenska filmmedier/ på
svenska filmsidor om den här BBC-listan. Just tips om filmer regisserade av
kvinnor kan man annars göra karriär på i Sverige. Och BBC hör ju till dem man
gärna refererar till. Kan bara dra slutsatsen att vi var fel personer som valde
från Sverige.
Det utländska intresset har varit desto större. Och frågorna
de ställer gör mig alltid beklämd över den svenska inställningen till film och
vilka som har regisserat filmerna. De utländska journalisterna frågar
"varför" – varför just denna film, vad gör just denna film unik –
medan man så ofta i Sverige nöjer sig med att rätt kön står bakom kameran.
Söker man svar på varför vår filmkultur är beklämmande så finns ett sådant just
där.
Med det sagt: varje titel på den här listan har en central
plats i filmkulturen och historien.
Hynek Pallas – Göteborgs-Posten (Sweden)
1. Daisies (Vera Chytilová, 1966)
2. 35 Shots of Rum (Claire Denis, 2008)
3. Cleo from 5 to 7 (Agnès Varda, 1962)
4. The Selfish Giant (Clio Barnard, 2013)
5. The Swamp (Lucrecia Martel, 2001)
6. Wanda (Barbara Loden, 1970
7. The Ascent (Larisa Shepitko, 1977)
8. From the East (Chantal Akerman, 1993)
9. Water Lilies (Céline Sciamma, 2007)
10. Hurt Locker (Kathryn Bigelow, 2008)
Inga kommentarer:
Skicka en kommentar