The Pepa movie could be a good cynical comedy. Instead, the monument builds a man's temptation
The new Czech film Pepa has much to do with the fate of the title hero. Just like Michal Suchánek's Pantherapist Pepa decides to change his life to the end, the comedy of director Jan Novák suggests the missed potential of the original, but quite surprising point in the Czech Republic.
At the beginning of the film, the camera passes through the window of a shabby hotel block to find Pepa loser in a broken-headed bathroom with a lifetime projection. Accompanied by Pep's overused remark outside of the image, Novak serves the odyssey of a complete outsider in the next ninety minutes, bullied by his surroundings.
In the sequence of more or less cheap anecdotes, the viewer with the main hero discusses his insignificant existence: from a child humiliated by a teacher and his classmates, in tedious episodes, he elaborates on his adult status of reclusive silence.
Pepa has a teenage daughter (Natalia Gross) at home and a wife of manipulative hysterick Zden (Petra Å palková), who is openly disdained by him. The routine of the tedious days in the office mouse career is made more pleasant by his young colleague PavlÃna (Alena Doláková) and a few moments of fulfillment convey to him a hobby in voyeur viewing through a binoculars to the apartment in the opposite house where he experiences his seemingly idyllic partnership relationship young couple (Martin Pechlát and Anna Stropnická) .
The success of a narrator-based movie stands and falls as to whether or not to be able to cheer on the main hero. Although Michal Suchánek is type-specific, his character does not appear to be of flesh and bone.
The producer promotes the film as a comedy with elements of retreat, the impression of a soothing return to the past, but in this case it can not be attributed to an expedition that, in the sequences of Pep's childhood, due to aesthetics of ugliness closer to the vorlating grotesque than the nostalgia of the veil-type type.
The feeling of retreat is more of a viewer than a story that in many ways recalls the normalization bachelor's stories. Poor Pepa is so under the sneaker that he dares to fire his cigarette only on his way to the container. With his wife he runs every weekend on a canasta party with partner partner Tonda (Filip Blažek) and Jarmila (Alice Bendová). When Tonda gets drunk, he seduces Zden with photos of rocks.
The only realistic segments are the scenes from the house opposite. As it turns out ironically, the couple is not as happy as Pepa thinks: the Pechlata's characters are a wealthy tyrant who sucks his partner with absurd demands.
Even this darker story line shows the more interesting the picture could be if the author of cinematic Pepa did not make the author for Czech cinematography as a typical figure - a man who would want to be better, but unfortunately his fate is throwing sticks under his feet.
It was enough to turn the optics of the narrative a little, and Pepa could be quite a pleasant cynical comedy about the fact that karma is a bitch and everyone is a fortune maker. Instead, the creators of Suchánek's character built a memorial to an annoying male chuck.
At the beginning of the film, the camera passes through the window of a shabby hotel block to find Pepa loser in a broken-headed bathroom with a lifetime projection. Accompanied by Pep's overused remark outside of the image, Novak serves the odyssey of a complete outsider in the next ninety minutes, bullied by his surroundings.
In the sequence of more or less cheap anecdotes, the viewer with the main hero discusses his insignificant existence: from a child humiliated by a teacher and his classmates, in tedious episodes, he elaborates on his adult status of reclusive silence.
Pepa has a teenage daughter (Natalia Gross) at home and a wife of manipulative hysterick Zden (Petra Å palková), who is openly disdained by him. The routine of the tedious days in the office mouse career is made more pleasant by his young colleague PavlÃna (Alena Doláková) and a few moments of fulfillment convey to him a hobby in voyeur viewing through a binoculars to the apartment in the opposite house where he experiences his seemingly idyllic partnership relationship young couple (Martin Pechlát and Anna Stropnická) .
The success of a narrator-based movie stands and falls as to whether or not to be able to cheer on the main hero. Although Michal Suchánek is type-specific, his character does not appear to be of flesh and bone.
The producer promotes the film as a comedy with elements of retreat, the impression of a soothing return to the past, but in this case it can not be attributed to an expedition that, in the sequences of Pep's childhood, due to aesthetics of ugliness closer to the vorlating grotesque than the nostalgia of the veil-type type.
The feeling of retreat is more of a viewer than a story that in many ways recalls the normalization bachelor's stories. Poor Pepa is so under the sneaker that he dares to fire his cigarette only on his way to the container. With his wife he runs every weekend on a canasta party with partner partner Tonda (Filip Blažek) and Jarmila (Alice Bendová). When Tonda gets drunk, he seduces Zden with photos of rocks.
The only realistic segments are the scenes from the house opposite. As it turns out ironically, the couple is not as happy as Pepa thinks: the Pechlata's characters are a wealthy tyrant who sucks his partner with absurd demands.
Even this darker story line shows the more interesting the picture could be if the author of cinematic Pepa did not make the author for Czech cinematography as a typical figure - a man who would want to be better, but unfortunately his fate is throwing sticks under his feet.
It was enough to turn the optics of the narrative a little, and Pepa could be quite a pleasant cynical comedy about the fact that karma is a bitch and everyone is a fortune maker. Instead, the creators of Suchánek's character built a memorial to an annoying male chuck.
The Pepa movie could be a good cynical comedy. Instead, the monument builds a man's temptation
Reviewed by Herbal Plants
on
April 13, 2018
Rating:
Reviewed by Herbal Plants
on
April 13, 2018
Rating:
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