Regie:
Šimon HolýCamera:
Jana HojdováMuziek:
Šimon HolýActeurs:
Pavla Tomicová, Sara Venclovská, Tereza Hof, Eliška Soukupová, Marián Chalány, Nirav Prajapati, Soňa Beaumont, Lenka Karaka, Hana Řičicová (meer)Samenvattingen(1)
What do you do when love simply isn’t on the cards and keeps passing you by? 60-year-old Kristýna (Pavla Tomicová) has lost her last ray of hope and so it seems to her a brilliant and perfectly rational solution to travel to the Vysočina highlands to see a fortune-teller about her sorry lot in life. She sets off for this therapeutic séance with her daughter Sára (Sára Venclovská), who would prefer to avoid this liberal dose of esoterica at all costs, even though she, herself, is a bundle of nerves. One year on from Mirrors in the Dark, Šimon Holý brings us another wholly independent film about life’s traumas as seen from a female perspective. Once again he relies on remarkably faithful dialogues in order to show that love comes easily to those who are able to love themselves as well. (Karlovy Vary International Film Festival)
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Recensie (2)
The trailer made this look like an intimate mother-daughter drama, spiced up a bit by an esoteric old woman. Before the screening began, the director made a speech; his expression and tone were just like the movie itself - monotonous, saying nothing and lacking emotion and intimacy. All of the characters are unbearable, but we don’t know why; the characters spend their time crying, but it’s impossible to feel any compassion for them; the potential of the actresses remains utterly unutilized. Even the fairly unusual topic remained almost completely unutilized. Only a couple of drops were squeezed out of it. Thank god for the mushrooms which take care of the ending of the whole movie. Perhaps they should have handed out some mushrooms to the viewers before the movie to make them happy instead of disappointed.
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The promising clash of the most fundamental contradiction, namely between the rationality of the psychologist and the interpretation of a tarot card reading, is maybe exploited in just one scene. Sara, who is supposed to be the audience surrogate, occupies a watch-and-wait tactic, and... nope, that's it, the movie doesn't offer anything else. Seriously. At the moment when I was expecting at least some catharsis after the unbearable improvisation, the hallucinogenic scene at the tree came, introducing everything imaginable except a helpful word or a resolution. Pavla Tomicova gives a great performance, but it's completely pointless. The creators really didn't have to do this to her.
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