[CRITICAL] REQUIEM FOR MRS. J.

Tragicomedy wearing a look of sarcastic on the bureaucracy and the Serbian political, Requiem for Mrs. J. requires the young filmmaker Bojan Vuletić figure of the cinema of the balkans to follow very closely.

Already director of Practical Guide to Belgrade with Singing and Crying 2011, REQUIEM FOR MRS. J. is the second feature film by the Serbian Bojan Vuletić, was selected at Berlin in February, and this month in the focus of Serbia the selection of ACID, in Cannes. This new film tells the misadventures of a fiftieth anniversary having recently lost her husband and having decided to put an end to his days to the end of the week. Problem : it is not easy to give the death in Serbia in 2016.

Vuletić adopts an angle deliberately tragicomique, making this story that could have been treated so pessimistic a joke black on the border of Kafka, the fairy tale, of Dumont, Ken Loach and Wes Anderson. The tables in the plans, sets the fixed-follow one another and let the actors and scenes speak : it is a scene of theatre of everyday life, that Vuletić installs, evoking through this symmetry mathematical rigor absurd bureaucratic instances.

Because it is the subject of REQUIEM FOR MRS. J. : the difficulty to act in a Serbian society, stuck between communism and capitalism, stuffy and rigid for his people. The desperation intimate encounter the political madness in an explosion of irony, and write bitter-sweet where the locations dilapidated old buildings of the “popular democracy” yugoslav the field of play who is not afraid to have fun on the misfortunes of his countrymen.

“With this second realization, Bojan Vuletić is required in the master. “

Funny, tragic, poetic, sometimes even dream-like and fantastic, REQUIEM FOR MRS. J. is a small tour de force that moves without making too much of it, by the accuracy of his characters and the gentle static in its staging, wonderfully composed, which, by the simple movement of the eyes and of the characters, established the ambiance is very peculiar. With this second realization, Bojan Vuletić is required in the master. Each selection exudes a deep intention of creating a gesture of the author : these characters always seem so distant from the camera, are certainly alive. And when, suddenly, a close-up comes to cut this rigorous rhythmic, it also makes you laugh a full-throated cry or tears – but it is in any case never innocent. Simply brilliant.

KamaradeFifien

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