“Ucide!”: Amendamentul Holland la porunca a 6-a

Crima fără pedeapsa – un film nihilistic, anticreștin 

La sfârșitul filmului, ucigasa și prietenii care o ajuta stau așezati fericiti in jurul mesei, înconjurați de frumusețe. Scena este luminoasa, neumbrita de mustrări de conștiință pentru oamenii omorâti de Janina Duszejko.

Romanul/filmul polițist este povestea luptei detectivului pentru a găsi criminalul și a-l preda justiției; esența lui este dorința de justiție. Pokot este un film despre răzbunare. Janina omoară vânătorii care i-au împușcat câinii, iertarea creștina fiindu-i straina. Ochi pentru ochi, om pentru câine.

Holland vopsește personajele in alb și negru. Toți vânătorii sunt cruzi, poliția este corupta, omul de afaceri imoral, preotul sadic. In penultima scena, preotul moare in incendiul bisericii, cauzat de cioburile de sticla din cuibul construit de coțofene in turla bisericii.

Simbolic, natura ar face dreptate, omorând preotul si distrugând biserica catolica, prezentata ca un templu pagân unde se binecuvânteaza uciderea animalelor. Numai ca odată ce ieșim din utopia lui Holland, cruzimea nu este monopolul vânătorilor, ci legea esențială a naturii, in care cel slab sfârseste mâncat de de animalele de prada.

Numai omul încearcă prin lege sa civilizeze natura, codificând folosirea violentei, introducând tabuuri. Razbunarea reprezintă represalii, care nu inchid cercul violentei, pe când justiția reprezintă restabilirea echilibrului. Pacea ultimei scene a filmului, care sugerează închiderea unui ciclu după restabilirea dreptății, este pacea teroristului și a revoluționarului, pentru care porunca a șasea devine “ucide” in numele cauzei. 

Janina Duszejko este interpretata magistral de actrita Agnieszka Mandat, imaginea si atmosfera sunt punctele forte ale filmului, insa narațiunea este confuza.

Pokot a primit Premiul Alfred Bauer la a 67-a ediție a Festivalului Internațional al Filmului de la Berlin.

Din toate cronicile pe care le-am citit, nici un critic de film nu a adresat mesajul semi subliminal al filmului și încălcarea legii de baza a romanului/filmului polițist: aducerea criminalului in fata justiției. 

Critici de film despre Pokot

Owen Gleiberman, Chief Film Critic, Variety:

“Yet in “Spoor,” the real unreliable narrator is Agnieszka Holland. Scene for scene, she stages the film with confidence and a feeling for mood, yet nothing in it hangs together.

Beneath the lurches in logic, the episodic storyline that never gets going, one discerns the fuzzy outlines of a “vision.” Men are hunters and stalkers. Religion is a lie that pretends to have compassion but doesn’t recognize all of God’s creatures. It’s up to women, who pose as the passive ones, to right the wrongs of the universe with their secretive action. The best thing in “Spoor” is Madat’s performance; she makes Duszejko a figure of equal parts love and rage. Yet the movie is the sort of mess that seems to keep starting over, and you may wind up wishing that you could transport the character to a better film, one that wasn’t too busy undercutting the audience to give it something to rely on.”


The Economist:

<In a press conference in Berlin, Ms Tokarzcuk focused on the film’s feminism and the iniquities of hunting. “I could have chosen to write about the industrial production of meat,” she said, “but hunting is spectacular and, for me, a metaphor for the domination of the weak. It is a very male hobby. Political decisions are taken on the hunt. In ‘Pokot’, women and nature fight back.”>


Deborah Young, The Hollywood Reporter:

“It’s a meaty role for stage and film actress Mandat, whose very real pain at the thought of animals’ suffering commands sympathy, though eventually a little tedium. A tighter edit could avoid a lot of surplus emotions and possibly clarify a number of obscure plot points. Why, for instance, does she appear with red scabs all over her face in two consecutive scenes? And why does she refuse to be called by her first name?  

The other characters, by contrast, are alarmingly sketchy and ill-developed. Dyzio (Jakub Gierszal) is an eager-beaver young techie who works for the police but whose loyalty belongs to Duszejko. A pretty girl (Patricia Volny) struggling with the after-effects of an abusive family is thrown in, and at the eleventh hour a craggy entomologist (Miroslav Krobot) turns up in the forest after another corpse is discovered. They all seem like secondary TV characters mismatched with serious issues, majestic settings and Antoni Komasa-Lazarkiewicz’s thrilling, threatening score.”


Kate Connolly, The Guardian:

“Duszejko’s passionate opposition to the hunts defines the story, which Holland said is “a bit like a fairytale about anger”. “Anger is a very dangerous thing, and those big men with power are playing with the anger of people. Danger is like a fire. It keeps you warm and you can make your food on it, but it can also burn your house down.”

Holland said the protagonist embodied many disillusioned women of her generation “who are very rational, working as engineers or scientists, who reject the official religion that became very politically corrupt and has little to do with Jesus Christ. But at some point they start to have the need to connect to something like astrology, yoga or zen. It’s the above-55 generation who believed in progress and in the freedom that came with the collapse of communism, and the fact they could take things into their own hands, but who have now lost this hope.”


by Sir Francis Bacon





Author: Dan Calinescu

Manager Motto: no isms Linkedin: https://www.linkedin.com/in/dan-calinescu-9152587?trk=nav_responsive_tab_profile http://www.experimentulpitesti.org/public/video-clipuri

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