\" Jednou za \u010das, snad jako cvi\u010den\u00ed v poko\u0159e, nato\u010d\u00ed Steven Soderbergh opravdu nevysv\u011btliteln\u00fd film,\" napsal Roger Ebert ve sv\u00e9 recenzi na Soderbergh\u016fv film Full Frontal z roku 2002. Ebert je bohu\u017eel pry\u010d, tak\u017ee to \u0159eknu j\u00e1 - posledn\u00ed nevysv\u011btliteln\u00fd Soderbergh je tady.\n<\/p>\n
To je v\u0161ak d\u016fvod k oslav\u011b, nikoli ke zd\u011b\u0161en\u00ed. I kdy\u017e je plodn\u00fd a nevyrovnan\u00fd Soderbergh v m\u00f3du odhozen\u00ed, nere\u017e\u00edruje nudn\u00e9 filmy. Jeho nejnov\u011bj\u0161\u00ed film Kimi, kter\u00fd m\u011bl premi\u00e9ru ve \u010dtvrtek na HBO Max, je lehk\u00fd, svi\u017en\u00fd thriller, kter\u00fd je bu\u010f zat\u00ed\u017een, nebo vylep\u0161en - t\u011b\u017eko \u0159\u00edct - bizarn\u00edmi vyprav\u011b\u010dsk\u00fdmi rozhodnut\u00edmi. V\u00fdsledkem je netradi\u010dn\u00ed aktualizace filmu Okno do dvora, kter\u00e1 se odva\u017euje polo\u017eit ot\u00e1zku: Co kdybychom m\u00edsto Jimmyho Stewarta, kter\u00fd se zlomenou nohou vyhl\u00ed\u017e\u00ed z okna, sledovali Zo\u00eb Kravitzovou, jak poslouch\u00e1 zvuk shrom\u00e1\u017ed\u011bn\u00fd chytr\u00fdm dom\u00e1c\u00edm za\u0159\u00edzen\u00edm, zat\u00edmco se pot\u00fdk\u00e1 s vlekl\u00fdm z\u00e1chvatem agorafobie vyvolan\u00e9 traumatem?\n<\/p>\n
Samotn\u00e1 z\u00e1pletka je dostate\u010dn\u011b p\u0159\u00edmo\u010dar\u00e1, zvl\u00e1\u0161t\u011b ve srovn\u00e1n\u00ed se Soderberghov\u00fdm posledn\u00edm filmem Bez n\u00e1hl\u00e9ho pohnut\u00ed, kter\u00fd vr\u0161il podrazy jeden na druh\u00fd, a\u017e se pravda zvrtla. Tady jsou padou\u0161i jasn\u00ed, stejn\u011b jako hrdina. Angela Childsov\u00e1 (Kravitzov\u00e1) pracuje pro technologickou firmu Amygdala, kter\u00e1 se chyst\u00e1 vstoupit na burzu d\u00edky sv\u00e9mu za\u0159\u00edzen\u00ed Kimi, konkurentovi Alexi a Siri. Childsov\u00e1 tr\u00e1v\u00ed dny v rozlehl\u00e9m, bezvadn\u00e9m pr\u016fmyslov\u00e9m loftu v Seattlu, poslouch\u00e1 \u00fatr\u017eky zvuku ozna\u010den\u00e9 pro lidskou interpretaci a ob\u010das vtipkuje se sv\u00fdm spolupracovn\u00edkem z technick\u00e9 podpory v Rumunsku. Kdy\u017e zrovna nepracuje, sleduje zpr\u00e1vy a p\u0159itom se to\u010d\u00ed na rotopedu, obsedantn\u011b si \u010dist\u00ed zuby, po\u0159\u00e1d\u00e1 videokonference se svou matkou a psychiatrem nebo zve souseda p\u0159es ulici Terryho (Bryan Bowers), aby se s n\u00edm dala dohromady. Jednoho dne usly\u0161\u00ed zvukov\u00fd z\u00e1znam, kter\u00fd zn\u00ed jako n\u00e1siln\u00fd trestn\u00fd \u010din. Kdy\u017e se pokus\u00ed nahl\u00e1sit, co sly\u0161ela, Amygdal\u011b, stane se ter\u010dem vlivn\u00fdch lid\u00ed, kte\u0159\u00ed necht\u011bj\u00ed, aby zvukov\u00fd z\u00e1znam unikl na ve\u0159ejnost.\n<\/p>\n
P\u0159\u00edb\u011bh z \u0161ir\u0161\u00edho pohledu je zcela b\u011b\u017enou hrou na ko\u010dku a my\u0161. Z\u00e1sadn\u00ed podivnost filmu v\u0161ak prosakuje v detailech. Angela trp\u00ed t\u011b\u017ekou agorafobi\u00ed a navzdory bolestiv\u00e9 zubn\u00ed infekci neopust\u00ed sv\u016fj byt. A p\u0159esto m\u00e1 Angela elektricky modr\u00fd \u00fa\u010des s d\u011btskou ofinou. \u0158\u00edkejte mi, \u017ee jsem (doslova) rozcuchan\u00e1, ale tenhle nesm\u00edrn\u011b n\u00e1ro\u010dn\u00fd \u00fa\u010des by se doma, o samot\u011b, d\u011blal jen velmi t\u011b\u017eko. T\u011b\u017eko si p\u0159edstavit vzhled, kter\u00fd by jednozna\u010dn\u011bji k\u0159i\u010del \"p\u011btihodinov\u00e1 n\u00e1v\u0161t\u011bva kade\u0159nick\u00e9ho salonu s pravideln\u00fdm zast\u0159ih\u00e1v\u00e1n\u00edm\". A ano, tenhle film se sice odehr\u00e1v\u00e1 v trochu alternativn\u00edm vesm\u00edru, kde se sice stal Covid-19, ale Seattle z\u00e1rove\u0148 zm\u00edtaj\u00ed politick\u00e9 protesty kv\u016fli z\u00e1kon\u016fm omezuj\u00edc\u00edm pohyb lid\u00ed bez domova, tak\u017ee v tomto sv\u011bt\u011b mo\u017en\u00e1 do\u0161lo k velk\u00e9mu pokroku v dom\u00e1c\u00edm barven\u00ed DIY, ale c ' mon.\n<\/p>\n
Dal\u0161\u00ed rozpt\u00fdlen\u00ed: Pro\u010d je Angela tak bohat\u00e1? Je oslavovan\u00fdm moder\u00e1torem obsahu, ale \u017eije v rozlehl\u00e9m loftu v Seattlu jako n\u011bjak\u00fd novodob\u00fd Frasier Crane. Sice se objev\u00ed pozn\u00e1mka, \u017ee j\u00ed otec pom\u00e1hal s rekonstrukc\u00ed, ale stejn\u011b - sledujeme snad film o d\u00edt\u011bti ze sv\u011b\u0159eneck\u00e9ho fondu, kter\u00e9 se prost\u011b rozhodlo d\u0159\u00edt na pozici st\u0159edn\u00edho (v nejlep\u0161\u00edm p\u0159\u00edpad\u011b) obsahov\u00e9ho analytika? Naproti tomu gener\u00e1ln\u00ed \u0159editel spole\u010dnosti Amygdala Bradley Hasling (Derek DelGaudio) je na za\u010d\u00e1tku filmu zobrazen p\u0159i telekonferenci z provizorn\u00edho pracovi\u0161t\u011b v gar\u00e1\u017ei. Pro\u010d tento mu\u017e nem\u00e1 dom\u00e1c\u00ed kancel\u00e1\u0159? V\u017edy\u0165 je t\u0159et\u00ed rok pandemie a on je ve veden\u00ed spole\u010dnosti! Kdyby \u0161lo nap\u0159\u00edklad o film Nancy Meyersov\u00e9, mohli bychom nad podivn\u00fdm v\u00fdb\u011brem prost\u0159ed\u00ed pokr\u010dit rameny. Ale Soderbergh je obvykle docela dob\u0159e nalad\u011bn na t\u0159\u00eddn\u00ed rozd\u00edly.\n<\/p>\n
Angela je nevysv\u011btliteln\u00e1, co\u017e nen\u00ed tot\u00e9\u017e co slo\u017eit\u00e1. Je ned\u016fv\u011b\u0159iv\u00e1 a opatrn\u00e1, ale tak\u00e9 bezelstn\u011b poslouch\u00e1 sv\u00e9 \u0161\u00e9fy, kdy\u017e j\u00ed \u0159\u00edkaj\u00ed, aby nic nepsala a rad\u011bji p\u0159i\u0161la do kancel\u00e1\u0159e, ne\u017e aby upozornila \u00fa\u0159ady. Jej\u00ed agorafobie d\u00e1v\u00e1 Soderberghovi z\u00e1minku k nasazen\u00ed rozt\u0159esen\u00e9 kamery ve stylu hudebn\u00edho videoklipu, kdy\u017e se kone\u010dn\u011b vyd\u00e1 do ulic, ale jinak p\u016fsob\u00ed jako p\u0159ilepen\u00fd prvek, jako by p\u016fvodn\u00ed n\u00e1vrh sc\u00e9n\u00e1\u0159e dostal pozn\u00e1mky, \u017ee jeho hrdinka pot\u0159ebuje k p\u0159ekon\u00e1n\u00ed v\u00edce p\u0159ek\u00e1\u017eek, ne\u017e jsou nechutn\u00ed techni\u010dt\u00ed nad\u0159\u00edzen\u00ed usiluj\u00edc\u00ed o jej\u00ed \u017eivot. Jej\u00ed rom\u00e1nek se sousedem tak\u00e9 p\u016fsob\u00ed, jako by byl do filmu vlo\u017een ve snaze od\u0161krtnout si n\u011bjakou polo\u017eku.\n<\/p>\n
Jakmile v\u0161ak Angela opust\u00ed sv\u016fj d\u016fm, film nastartuje sv\u016fj motor a zm\u011bn\u00ed se v kinetickou honi\u010dku, kter\u00e1 je natolik strhuj\u00edc\u00ed, \u017ee je t\u011b\u017ek\u00e9 se p\u0159\u00edli\u0161 zaj\u00edmat o podivn\u00e9 charaktery. Jak lid\u00e9, kte\u0159\u00ed cht\u011bj\u00ed uml\u010det Angelu doma a ona se vyman\u00ed z jejich sev\u0159en\u00ed a pak zp\u011bt do nebezpe\u010d\u00ed, t\u00f3n ping-pong mezi hororem a komedi\u00ed, s vrcholnou showdown tak svi\u017en\u00fd, p\u0159ekvapiv\u00fd, a t\u00e9m\u011b\u0159 slapsticku, \u017ee pat\u0159\u00ed do k\u00e1nonu Soderbergh ' s nejz\u00e1bavn\u011bj\u0161\u00ed pr\u00e1ce. Lid\u00e9 budou pravd\u011bpodobn\u011b je\u0161t\u011b dlouho \u017e\u00e1dat sv\u00e9 vlastn\u00ed chytr\u00e9 dom\u00e1c\u00ed asistenty, aby jim film zapnuli, a\u017e budou m\u00edt n\u00e1ladu na n\u011bco rychl\u00e9ho, stra\u0161ideln\u00e9ho a trochu hloup\u00e9ho.<\/p>\n","protected":false},"excerpt":{"rendered":"
\" Jednou za \u010das, snad jako cvi\u010den\u00ed v poko\u0159e, nato\u010d\u00ed Steven Soderbergh opravdu nevysv\u011btliteln\u00fd film,\" napsal Roger Ebert ve sv\u00e9 recenzi na Soderbergh\u016fv film Full Frontal z roku 2002. Ebert je bohu\u017eel pry\u010d, tak\u017ee to \u0159eknu j\u00e1 - posledn\u00ed nevysv\u011btliteln\u00fd Soderbergh je tady. To je v\u0161ak d\u016fvod k oslav\u011b, nikoli ke zd\u011b\u0161en\u00ed. I kdy\u017e je […]<\/p>\n","protected":false},"author":1,"featured_media":35792,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[],"class_list":["post-35788","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-movies"],"_links":{"self":[{"href":"https:\/\/movieworld.blog\/cs\/wp-json\/wp\/v2\/posts\/35788","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/movieworld.blog\/cs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/movieworld.blog\/cs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/movieworld.blog\/cs\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/movieworld.blog\/cs\/wp-json\/wp\/v2\/comments?post=35788"}],"version-history":[{"count":0,"href":"https:\/\/movieworld.blog\/cs\/wp-json\/wp\/v2\/posts\/35788\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/movieworld.blog\/cs\/wp-json\/wp\/v2\/media\/35792"}],"wp:attachment":[{"href":"https:\/\/movieworld.blog\/cs\/wp-json\/wp\/v2\/media?parent=35788"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/movieworld.blog\/cs\/wp-json\/wp\/v2\/categories?post=35788"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/movieworld.blog\/cs\/wp-json\/wp\/v2\/tags?post=35788"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}