Regie:
Peter BebjakDrehbuch:
Tomáš BombíkKamera:
Martin RauMusik:
Juraj DobrakovBesetzung:
Matej Marušín, Mary Bartalos, Tomáš Maštalír, Dávid Hartl, Juraj Loj, Tomáš Mischura, Jaroslav Mottl, Martin Šalacha, Emanuel Hason, Ela Lehotská (mehr)Inhalte(1)
Igor, an unemployed university graduate, discovers the psychiatric assessment reports of Walter Fischer. One day seventy years ago, Fischer disappeared under mysterious circumstances while walking in the Tribec mountains. Two months later, he reappeared under equally mysterious circumstances and had strange wounds and burns all over his body. He was disoriented, could not explain what had happened to him and never recovered. Igor continues his investigation and, to his astonishment, he learns that Fischer’s case was not at all isolated – mentions of mysterious disappearances in the mountains date far back into history. More and more chilling stories keep piling up. Igor, his girlfriend Mia, the conspiracy theorist Andrej and the inveterate sceptic David begin to dig deeper into the mystery and unearth a truth more terrifying than any fantasy. They embark on an expedition to the forests of Tribec, where they witness something that defies human understanding. Their initially innocent quest ends in tragedy. This mystery, as the group find out, has incredibly sharp teeth. (Magnetes Pictures)
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Kariks erzählerisches Märchen (sprich: Bestseller) gehört verfilmt zu den zeitgenössischen slowakischen Filme mit Ambitionen. Leider täuscht dies, und der Film bietet nur eine naive lokale Sicht auf das Genre, das selbst für größere Produktionen nicht einfach ist.
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Ein verwirrender Wahnsinn, der fast parodiehafte Ausmaße der slowakische Auffassung von The Blair Witch Project erreicht. Ich weiß selbst nicht, ob ich den Film wahrgenommen habe oder nicht, ob ich geschlafen habe oder wach war, und das war auch irgendwie egal - die Gedanken flohen, und der Film war so verwirrend, dass es im Grunde egal war, ob ich fünf oder dreißig Minuten ausgelassen habe.
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Ein misslungener Versuch, einen mysteriösen Horrorfilm so zu machen, wie ihn am besten die Hollywooder können und drehen. Unattraktive Figuren (in allen Hinsichten), eine langwierige und uninteressante Exposition, ein misslungener Versuch um sowieso schon abgeleierte Tricks, bei denen man Spannung beim Wandern durch den Wald erzeugt. Bebjak ist ein guter Regisseur. The Line war super – die Figuren und die Handlung sind dort deutlich komplexer und tiefer. Diese Genre-Filme erfordern offensichtlich eine andere Art von Talent, wahrscheinlich auch eine bessere Drehbuchadaption. Das Drehbuch wirkt hier nämlich schlampig, kommerziell und als ob es auf die Schnelle gemacht wurde.
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I'm sorely tempted to defend this, because up to a point I recognize Bebjak as a smart genre director who at last is no longer trying to follow up on something that's already died eight times and been dug up again seven times. But in The Rift he clearly struggled not only with the original assignment of making a three-part series (why on earth and whose idea was it?), which makes the first third deviate from the rest of the plot with an etude in a haunted madhouse that suffers terribly from bad sound, but also from budget and time constraints. Then, when a quartet of horribly acted and altogether shallow characters venture into a sparse, threadbare, leafy forest where they walk on a contour line, yammering the whole time about their inability to reach the summit, you kind of feel sorry for them all. Especially when you know by the exposition that we're going to see problems with diabetes, drug addiction, whistles, and who knows what else. It's a shame when the nature of the mystery is so reminiscent of the anomalies in the PC game Stalker, and perhaps the scene where the protagonist's girlfriend, whom he calls by a strange name, runs off into the darkness, while a strange spiral of lights circles somewhere in the back left of the frame, hinting at the promise of a mystery that the rest of the film is not capable of delivering. And in general, forest horror films are really not my thing. You can see a better example of how to make a lot of scares out of very little in the woods in Italy's Across the River.
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My biggest takeaway was that I learned about the Tribec mystery, which I had never heard of before. The authors unfortunately didn't provide much insight, I had to look up everything afterwards, which bummed me out. The story was extremely mysterious, and raised a lot of questions, but shrewdly left them unanswered. The acting performances were forced and unconvincing, the atmosphere didn’t work very well and all that hiking through the woods got a bit tedious at times.
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