KRÁSA ŽÍT

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  KRÁSA ŽÍT | 2014

The film about a subculture inhabiting a blackfield in the middle of the city that fails to live independently on the civilisation even though it tries hard, in a proud and blind manner. A strong culture overshadows outsiders and pushes weaker, outdated tribes deeper into “a primeval forest”, into a periphery and into their own unconsciousness. One sees the protagonist´s inner conflict between sentimental romanticism, while aggression and sense of hopelessness are escalating. However, the comical plane of the film should not be ignored, as it can be found in absurdity, or better yet, in futility of protagonist´s toil. The comicality of Markéta Wagnerová´s acting supposedly lies in portrayal of aspects of her personality that she dislikes. It can be also seen in situation gags: The viewer is however left in the dark about the course of the gag when it is becoming too long. These are the moments when the viewer might become bored, however those, who accept the game the film is offering to play with viewer´s attention, will be drawn into a semantic play of blatant nonsensicality of movie´s protagonists, which is set parallel to the everyday activities of city´s inhabitants. In a never-ending stream of puerile pranks, one does not become a mere observer but participates in the adventures, mischiefs and fantasies. And for comparison, it would be interesting if one could talk with someone who has actually experienced such adventures behind the former Rosice train station in Brno. The adventures such as smoking one´s first cigarette or skirmishing with other gangs (blackfeds and others). The protagonists, the members of the fictitious subculture who resemble homeless people occupying remnants of local allotments, emulate the real gardeners who still remain around. They also act as a local gang. The daily amusement of adolescents becomes multilayered due to their strange habits. With a bit of imagination, one can view them as the successors of hippie culture, the consequence of love revolution, bandits or protagonists of amateur fantasy movie, who became lost in their own worlds: Primitives and the weakest link from the dawn of humankind. If there is something that all the subcultures mentioned above have in common, it is rootlessness, which is portrayed in a unique manner, especially in the final scene when the gang surrounds and assaults a tree, beating it and burning it down. The rootlessness introduces the aimlessness of masculine destructive energy, which is worked off via substitute activities that do not make much sense. Ironically, the assault emerges from the gang´s conflict with the modern civilisation. (The official description by the co-author)