Réalisation:
Jakub KronerScénario:
Jakub KronerPhotographie:
Mário OndrišMusique:
Lukáš KobelaActeurs·trices:
Michal Nemtuda, Kristína Svarinská, Jakub Gogál, Dušan Cinkota, Tina, Samuel Spišák, Zuzana Porubjaková, Roman Luknár, Ľuboš Kostelný (plus)Résumés(1)
The main protagonist Maťo lives a carefree life with no rules. He and his childhood friend Tomáš steal cars for a car repair shop. Maťo’s life changes radically when he meets and falls in love with Veronika. Veronika lives the respectable life of a university student. She grew up in an orphanage and lives in a boarding house paid for by her school. She is constantly trying to contact her mother, whom she has never seen. Maťo doesn’t tell her the whole truth about himself, and would like to change his life because of her. The first conflicts
appear between Maťo and Tomáš. Maťo wants to break free from his current way of living, so he and Tomáš agree to one last score. They go to rob a gas station, but because of an unfortunate accident, Maťo becomes an accessory to murder.
(texte officiel du distributeur)
Vidéo (1)
Critiques (4)
Jakub Kroner sait comment piquer l’intérêt du public jeune. Il connaît leur univers et est capable de le mettre en scène de manière captivante. On peut s’identifier à ses personnages et voir la beauté qui est en eux malgré leur statut de paria. Vous ne trouverez pas un « film de genre » aussi pur et sincère, même parmi les films tchèques contemporains – qui ont pourtant l’habitude d’être quelques crans au-dessus des films slovaques. Et c'est ce qui m'a surpris et ravi dans Lóve. Par contre, mon expérience a été gâchée par l’aspect puéril et l’incapacité du film à atteindre un public plus mûr que les ados. Kroner a beaucoup de potentiel pour le « cinéma slovaque commercial », créneau dans lequel il pourrait même exceller un jour, mais pour être pris au sérieux par les spectateurs plus âgés et plus expérimentés, il va lui falloir mûrir.
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Vu dans le cadre du « Challenge Tour 2015 : 30 jours de cinéma mondial ». Film numéro 16 – Slovaquie. C’est seulement pendant la projection que j’ai réalisé que j’avais mal interprété le sens du titre dès le début. En effet, il s'agit plus d'argent que d'amour. La ligne romantique est pas mal et est relativement finement traitée, mais son pendant dramatique et policier frôle le ridicule et la niaiserie. L’ensemble m’a paru exagérément amateur et c’est comme s’il n’y avait que Kristína qui jouait vraiment – et brillamment ! – en décomptant les minirôles de Kostelný et Luknár. Les mecs peuvent aller se rhabiller ; ils ne font que déclamer le texte qu’ils ont mémorisé ou en faire trop avec les vulgarismes. Et la fin ne fait que remettre une couche à la niaiserie ambiante. Un tout petit trois étoiles et encore, je suis gentil !
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I have to admit that I'm not exactly a big fan of the use of a modern camera that constantly dodges, nor am I a fan of handheld cameras, but in this case it works and enhances the individual scenes. Love has a good story and well acted characters, well within the scope of what was needed.
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This Slovak contribution to experiential cinema based on an immediate emotional response makes the age of its maker (24) too obvious, as he sometimes approaches it too aggressively, while at other times holding back in explaining what’s readily apparent. Unlike hybrid mash-ups for everyone and no one, however, Money or Love also makes it very clear who its target group is. Here life is approached as a computer game in which the power of individual experiences, mostly visceral (fighting, drinking, fucking) wins out over a solid narrative line. What’s important is not to aim for something in the long term, but to enjoy the present. For a film with adrenaline running through its veins, Money or Love unusually resolves a lot of situations through drawn-out dialogue scenes lasting several minutes, which could have been condensed into a few sentences with the right visuals. Kroner competently uses superficial flashiness to disguise the lack of action in the story. Nothing dramatic happens for a long time, as we generally just pleasantly spend time with the protagonists in their natural environment, but when something does happen, it’s spectacular, with music like that heard in the climax of a grand tragic opera. This wouldn’t be a love story if it didn’t equally take into account viewers of both genders. The weed-smoking scenes from the lair of a couple of friends are thus interspersed with scenes of gossiping from a girls’ dorm room so that the desired pairing-off can finally happen. The characters don’t complicate this painless content of a free Friday evening by pointing out to us obvious holes in the logic (the bizarre hotel episode), they don’t burden naïve declarations of love with deep thoughts on the finite nature of existence, and they express themselves with words and gestures that are primarily cool (whatever that word means). At least the vocabulary is natural when people of the same sex are talking to each other, with an unexpectedly large number of variations on “dick”, “cunt” and “fuck”, especially among the guys. Three reasons why I like the Slovak language. But I also found the rest of the film to be likable. Perhaps despite its simplicity, perhaps because of it. 60%
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Annonces