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  1. 2 Slovenské divadlo (Slovak Theatre)

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  1. 2 Langerová V.

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OD LŽI K PRAVDE.TRI FILMY IRÁNSKEHO REŽISÉRA ASGHARA FARHADIHO

100%
Langerová V.
Slovenské divadlo (Slovak Theatre)
|
2014
|
vol. 62
|
issue 2
216 – 224
EN
In 2012, the Slovak cinemas screened award winning Iranian film A Separation, with numerous awards from the international film festivals, among others American Film Critics Award Golden Globe and American Film Academy Award for foreign-language film, Oscar. It was the first ever Oscar awarded to an Iranian film and the first Iranian film in our distribution. Last year's Cannes Film Festival premiered Farhadi's latest film The Past, which follows the theme of family relationships in crisis. Along with the film About Elly from 2009, these films offer an extensive insight into the internal affairs of the society, seeking a balance between the requirements of the theological state and pressure of modernization and secularism on the needs of everyday life. The content and dramaturgical structure of these stories additionally refers to artistic constants such as Persian poetic tradition and Islamic mysticism, and thus brings distinctive features into the concept of European approach to relationships among the people.
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VIETNAMSKÝ TUCET

100%
Langerová V.
Slovenské divadlo (Slovak Theatre)
|
2012
|
vol. 60
|
issue 3
343 – 358
EN
The environment of this South Asian country is immersed in the water element. The seas and rivers, their intricate delta channels, surrounded by vibrant green jungles, rice fields and floating villages, colourful boats and fishermen - all this creates a poetic essence of Vietnam visuals, projected to nearly every film. It forms also the key to the cultural topography of the country with a turbulent history with alternated and mixed influences of Chinese, French, American and Soviet. The military paradoxically intertwines the lyric, Confucian severity meets Taoist poetry and creates in this "country floating on the water" theatre of dramatic counterpoints. The author provides a comprehensive analysis of the situation of filmmaking in the turbulently changing Vietnam society. She examines the degree of authenticity and impact of non-national initiatives, whether during the French colonial rule, during the protracted war, until the new expansion of cinema after a peaceful reunification of Vietnam and its first inroads into the context of the most advanced film cultures.
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