Photographie:
Adam SikoraActeurs·trices:
Michalina Olszańska, Marika Šoposká, Klára Melíšková, Petra Nesvačilová, Jan Novotný, Lukáš Bech, Juraj Nvota, Pavel Neškudla, Gabriela Míčová (plus)Résumés(1)
Olga est solitaire. Homosexuelle dans la Tchécoslovaquie des années 1970, elle quitte sa famille rigide et glaciale mais ne trouve pas sa place dans une société qui la rejette. À 22 ans, elle décide de se venger. (Arizona Films)
Critiques (8)
Dans la première moitié, qui se concentre sur la dépression chronique et le lesbianisme d'Olga Hepnarová, je mettrais davantage en évidence les raisons pour lesquelles elle se sentait si opprimée par son environnement. Dans le film, cela n'est pas assez clair et lorsque le spectateur ne connaît pas l'histoire des événements, cela ne devient évident qu'après la tragédie, lors de l'entretien avec l'avocat (Juraj Nvota). Tout le reste est excellent - l'atmosphère de l'époque, les visuels en noir et blanc, la froideur et l'impersonnalité de la narration, qui exprime le monde dans la tête d'Hepnarová. Et Michalina Olszanska est vraiment remarquable dans le rôle principal ! P.S : Quelle part du budget est passée dans les cigarettes ? Je ne voudrais pas le voir en 4DX !
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Génial, superbe, excellent, exceptionnel – des qualificatifs que je pourrais utiliser à foison ! Michalina est exceptionnelle ; elle coiffe allègrement au poteau toutes ses concurrentes, exactement comme l'avait fait Mihulová l’année précédente. Elle joue à la perfection et son personnage recrée la vraie Hepnarová à l’identique – sa démarche, ses mimiques, ses gestes, sa façon de bouger ses yeux… La photographie est un délice, une jouissance artistique ; les longues prises feront le régal de tout cinéphile. Les rôles secondaires sont tout aussi bons avec Melíšková, Pechlát et Šoposká, cette dernière figurant dans une jolie scène sexy. On est en présence d’un véritable chef-d’œuvre et je suis d’accord avec les avis qui disent qu’on peut brandir ce film avec fierté en Europe et dans le monde. Ce n’est pas un spectacle agréable et facile, mais ça vous prend aux tripes. Un grand bravo ! Je suis content que ce film, avec Family Film, se soit distingué hier aux Récompenses de la critique tchèque.
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Cold-blooded in the current of the Czechoslovak New Wave. The style is great, but it gets bogged down in unclear motivations. The supporting characters are figures you need to know more about, and even Olga herself has to slouch and have a smoke rather than let the viewer really understand whether she's unfortunate, or crazy. The latter I take as part of the filmmaking game, the former unfortunately not. However, the suggestive final five minutes give it a fundamentally positive impression. 4 ½.
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Olga Hepnarová and the madness of the human mind in the hardest form. Michalina Olszańska played it so convincingly and intensely that I think I will never forget her recitation of Olga’s letters. The creators took an incredibly difficult story and did an excellent job with it. The consciously black and white camera combined with the atmosphere of the seventies perfectly describes the incompetence of the time to solve anything and so Olga keeps relying on herself, her inner self and her thoughts and we, as the audience, have the chance to observe it and think about what’s going on in her head. In the end we, as the audience, are not able to solve it, but I feel that with this kind of personality even a renowned psychiatrist would have his or her hands full. Nevertheless, it was interesting to watch that kind of character for two hours. And in connection with some scenes that I will probably never forget I think that this film couldn’t have been done in a better way. I am really glad that this cooperation between the Czechs and Poles worked well. And now I am curious how long it will take before someone tries to make a film about Milada Horáková or the Mašín brothers…
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I, Olga Hepnarova, am strong... and photogenic. A terribly unclear film in terms of approach to the main protagonist, but also in terms of acting and screenwriting. The film, which omits and fragments, and also unnecessarily repeats itself and in some places, by skipping details, confuses rather than reinforces the impression of coldness. The combination of a very cinematic and photogenic visual, a slightly theatrical alienated conception of certain scenes and contemporary documentaries is more so choppy than organic. I, Olga Hepnarova works within individual scenes, especially when there is no talk in them and smoke is rising from somewhere. Thanks to Michalina Olszańská's non-mediocre face and strange posture, it has a disturbing sex appeal. I would also like to highlight the free work with the time period, not putting in normalization backdrops on display and the suppression of any "systemic" features. The film notices the characters in a very specific spatial section, and it does not excuse them due to the time period and corruption of the system. It is very suggestive in this regard. Unfortunately, if I am to consider the film as a semantic unit that works with a distanced study of a monster and a procedural report about a mass murderer, I can't help but be embarrassed. Yes, this is the work of people who avoid many annoying Czech conventions and are instructed by a contemporary festival film, but that in and of itself does at all not guarantee coherence and impact. I must take the side of those who say that Hepnarová is a sure bet. Not to the certainty we've been used to here over the years, but that doesn't change anything. In all respects, the seemingly provocative and morally ambivalent film ends carefully.
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Many things bothered me. Every other "art like" scene lasted dozens of seconds longer, without being justified by saying anything new. Postsynchronisation, which is high above the domestic "standard", but especially in emotionally tense scenes, it will strike you, as the voiceover artist is not on the same page as the main hero. That the victims aren't even mentioned by name or that the move creators decided to play it safe following to successful examples (yes, in many ways it follows in Ida's footsteps)… Well, there would be a lot to comment on. Nevertheless, the authors got under my skin. It has an excellent subliminal tension of a la Capote/ Brooks classic, an almost unseen fact in our film industry, where the authors do not need to say everything in words as in a radio play, several infinitely strong scenes (led by a discussion with a lawyer), overall ambivalence leaving many purely on to the viewer and especially to the excellent Olszańska that excels even in some weaker scenes.
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This was obviously an art film. I made this shrewd observation based on the fact that it’s in black and white and features nudity and lesbian sex in more than small amounts. If it hadn't been for the courtroom and prison scenes at the end, I would have given it only one star. All the wrongs that the title character complains about would have been reduced to getting kicked in the shower once. Other than that, the filmmakers focused on shooting a large number of oddly lifeless scenes that made it look like my screen froze. Plus, most of the individual scenes were disconnected, which may seem artistic, but also empty. I didn't learn anything about Olga Hepnarová that I hadn't already known.
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I can't help but feel that more could have been extracted from this film. After a long time, this was a Czech film I was genuinely looking forward to, but the result is a black-and-white spectacle that falls short in its portrayal of Olga Hepnarová. It's as if there is no build up. That's where the trailer was much better. And not even the last few seconds can save it. Not to mention, I sorely missed the motivation here. Was it just in her head, or was she really mistreated? It's only implied. Hinted at too sparingly...
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Annonces