In the mood for Egoyan
Exotica e un fel de puzzle ale carui piese iti sunt azvarlite la picioare de la inceput. Treaba ta ce faci cu ele. Poti sa te uiti lung sau sa incerci sa le asamblezi. In varianta a doua, risti insa sa mori de ciuda, pentru ca n-ai sa gasesti taman piesa a mai mare care te-ar ajuta sa intelegi ansamblul. Cel putin nu din prima.
Hiba principala a filmelor lui Egoyan este ca par sa fie spuse de o minte chitita obsesiv sa ajunga la poanta demonstratiei, dar pentru ca este complet lipsita de harul povestii simple, toate personajele ies din matrita frante sau convexe, monstruoase, iar dramele lor sunt intotdeauna intortocheate artificial. De-aici si aerul greoi din Exotica.
Simptomatic insa, Egoyan isi intoarce carentele in avantaj si tusa personala – o poveste prea rasucita si gata-gata sa se sufoce cu propriul snur ombilical inceteaza sa mai fie crispata pentru ca e transformata in atmosfera, prea mult detaliu care nu duce la nicio solutie logica e reorganizat intr-o constructie-thriller.
Marele spil e intotdeauna instinctul regizoral care da peste cap haosul unei povesti aparent fara cap si fara coada ca sa ricaneze la sfarsit ca n-ai avut tu suficienta intuitie in tot timpul cat ai bodoganit ca ar fi el prea criptic. Egoyan rade intotdeauna mai bine la urma si tu pici de prost ca ai fost Toma necredinciosu’ si c-ai bombanit fara imaginatie.
Atmosfera si constructia regizorala impecabila, atuurile lui patentate, sunt reluate sistematic in Exotica, dar aici apar suplimentar niste piloni pentru transparenta: cupluri simbolic-identice Christina-Tracey / Thomas-Zoe ( unul poarta pe pantece oua de papagal aduse ilegal, cealalta e gravida ), avataruri ale fetitei moarte, dar mai ales un papagal curios, care fie e impaiat, fie a uitat sa vorbeasca, ca semn al unei lumi reduse la afazie sau tacere. O lume care suspenda comunicarea si traieste mocnit cu micile sau marile tragedii in suflet. Mai mult de-atat nu merita spus, pentru ca Exotica este o ghicitoare. Ea insasi exotica.
8.8 / 10
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