8. veebruaril esilinastub kinos S\u00f5prus vanameistri Michel Haneke viimane teos “\u00d5nnelik l\u00f5pp”. Enne seda aga korraldab kino soojenduseks kaks eriseanssi, kus saab n\u00e4ha meistri varasemaid filme “Armastus” ja “Klaveri\u00f5petaja”.<\/p>\n
Ja kes \u00fctleb Haneke, see m\u00f5tleb Isabelle Huppert’i peale, sest just austerlase k\u00e4e all on prantslanna kahel viimasel k\u00fcmnendil teinud suurep\u00e4raseid rolle.<\/p>\n
5. veebruaril kell 20.30 Erika Kohut t\u00f6\u00f6tab Viini Konservatooriumis klaveri\u00f5petajana. Veidi \u00fcle neljak\u00fcmnene daam elab oma kitsukeses korteris koos emaga, kelle seltskonnast Erika p\u00e4\u00e4seb vaid regulaarselt pornofilmiseanssidel k\u00e4ies. Kogu tema seksuaalsus seisnebki tegelikult morbiidses vojerismis ja masohhistlikus enesepiinamises. Seda kuni p\u00e4evani, mil \u00fcks tudeng otsustab ta \u00e4ra v\u00f5rgutada…<\/p>\n 2001. aasta Cannes\u2019is p\u00e4lvis Haneke film \u017e\u00fcrii grand prix. Filmi m\u00f5lemad peaosalised Isabelle Huppert ja Beno\u00eet Magimel p\u00e4lvisid parima n\u00e4itleja auhinna.<\/p>\n KESTUS: 129 min 6. veebruar kell 20.30 Vanadus on kinokunsti jaoks t\u00e4nini suur tabu, millega v\u00e4hesed filmid s\u00f6andavad t\u00f5sisemalt tegeleda \u2013 nende seas m\u00f5ned klassikalised teosed nagu \u201eTokyo lugu\u201d ja \u201eTee valla homsele\u201d (\u201eMake Way For Tomorrow\u201d).<\/p>\n Michael Haneke loomingu kohta ootusp\u00e4raselt on film kaine ja range ning hiilgav n\u00e4ide koost\u00f6\u00f6st veteran-n\u00e4itlejate Emmanuelle Riva ja Jean-Louis Trintignant\u2019iga. V\u00f5ib t\u00f5epoolest \u00f6elda, et m\u00f5lemad teevad oma elu etteaste \u2013 \u00fckski muu roll ei saaks neilt n\u00f5uda nii vahetut t\u00f6\u00f6d omaenese surelikkuse ja f\u00fc\u00fcsilise haprusega. M\u00f5lemad v\u00f5tavad proovikivi auga vastu.<\/p>\n Peategelased \u2013 nime poolest, nagu Hanekel kombeks, Georges ja Anne \u2013, on eakad muusikud, keda sissejuhatuseks n\u00e4eme pianist Alexandre Tharaud\u2019 kontserdil (viimane paistab hiljem Anne\u2019i endisese \u00f5pilasena iseend m\u00e4ngivat). Koju j\u00f5udes leiab vanapaar, et nende korterisse on sisse murtud. See on sedalaadi v\u00e4ike ebameeldivus, millel Haneke maailmas on t\u00f5sised tagaj\u00e4rjed. J\u00e4rgmisel p\u00e4eval langeb Anne tasaselt h\u00e4irivas hommikus\u00f6\u00f6gi-stseenis transsi, mida Haneke s\u00e4ravalt seob justkui segajana tilkuva kraaniga. Siit saab alguse Anne\u2019i f\u00fc\u00fcsiline ja vaimne allak\u00e4ik, mis on visandatud elliptiliste, kuid m\u00f5juvate stseenide reaga.<\/p>\n Suurt osa toimuvast j\u00e4\u00e4b kaadri taha, kuid Haneke ei r\u00e4\u00e4gi Anne\u2019i seisundist l\u00e4bi lillede: \u00fcha kasvav liikumisv\u00f5imetus, dementsus, pidamatus ja n\u00f5nda edasi. Paari pikaealise armastuse vankumatus on kogu aeg selge, kuid selle p\u00fchendumuse l\u00f5plik m\u00e4\u00e4r selgub v\u00f5imsas l\u00f5pplahenduses, mida Trintignant hiilgavalt v\u00e4lja m\u00e4ngib.<\/p>\n See on peenetundeline, kuid tohutu j\u00f5uga film, mis v\u00f5ib k\u00fcll pisarateni liigutada, kuid on \u00fchtlasi \u00e4\u00e4retult intelligentne ja aus draama teemal, millest enamik meist ei taha m\u00f5eldagi, veel v\u00e4hem seda ekraanil n\u00e4ha. Vaid Haneke m\u00f5\u00f5tu re\u017eiss\u00f6\u00f6r suudab meile nii t\u00e4nuv\u00e4\u00e4rt elamust pakkuda.<\/p>\n Jonathan Romney, Screen Daily<\/em><\/p>\n KESTUS: 125 min 8. veebruaril esilinastub kinos S\u00f5prus vanameistri Michel Haneke viimane teos “\u00d5nnelik l\u00f5pp”. Enne seda aga korraldab kino soojenduseks kaks eriseanssi, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[111],"tags":[],"class_list":["post-24921","post","type-post","status-publish","format-standard","hentry","category-ueritused"],"_links":{"self":[{"href":"https:\/\/dev.ife.ee\/et\/wp-json\/wp\/v2\/posts\/24921","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dev.ife.ee\/et\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/dev.ife.ee\/et\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/dev.ife.ee\/et\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/dev.ife.ee\/et\/wp-json\/wp\/v2\/comments?post=24921"}],"version-history":[{"count":0,"href":"https:\/\/dev.ife.ee\/et\/wp-json\/wp\/v2\/posts\/24921\/revisions"}],"wp:attachment":[{"href":"https:\/\/dev.ife.ee\/et\/wp-json\/wp\/v2\/media?parent=24921"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dev.ife.ee\/et\/wp-json\/wp\/v2\/categories?post=24921"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dev.ife.ee\/et\/wp-json\/wp\/v2\/tags?post=24921"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n<\/strong>“Klaveri\u00f5petaja” \/ La Pianiste<\/strong><\/p>\n
\nKEEL: prantsuse
\nSUBTIITRID: eesti, vene<\/p>\n
\n<\/strong>“Armastus” \/ Amour<\/strong><\/p>\n
\nKEEL: prantsuse, inglise
\nSUBTIITRID: eesti, vene<\/p>\n","protected":false},"excerpt":{"rendered":"