A group of students cope with the disappearance of their friend.
A group of students cope with the disappearance of their friend.
The directorial debut of István Gaál, Current is a serious film that eagerly reaches toward profundity as it explores the reactions of a group of recent high school graduates to the disappearance of a friend during an afternoon of swimming and showing off. Gaál has been quoted comparing himself to "the masters of Sienna ... who were at one and the same time artists and craftsmen in the most noble sense of the word," and it's certain that he takes himself, his work, and the importance of writing, directing and editing his films very seriously. It's an admirable attitude, but it's also one that risks infusing his characters with the same self-seriousness, and perhaps imagines their words and actions as…
a sorrowful Hungarian rendition on the backwash of bereavement, Sodrásban is a tale of nagging tragedy. one sunny day, a group of friends visits the beach—splashing and wading in its waters, skin sandy in their playful wrestling and grappling. but in this carefree camaraderie, there is an underlying mantled trepidation that gradually surfaces after a friend’s sudden disappearance. with the corpseless intimation of death, a spar of worry, blame, and anger causes a rift within the group. in turn, unaddressed feelings, stifled regrets, and understated rivalries hold them together at every ring of distressing thought. brooding close-ups beneath hard lighting, the excruciating hours of waiting torture them. each handles the disappearance in different degrees of impulses, reasonings, and denials. every…
Иногда я выбираю фильм методом тыка, когда кто-то из здешних друзей добавляет его в вотчлист. Так случилось и с венгерской летней историей про молодежь, которая пошла купаться и не досчиталась одного бойца, но заметила это не сразу. Очень красиво снятая и тонко сыгранная психологическая драма напоминает Антониони (только без его длиннот) и доказывает, что в кино шестидесятых молодежь во всем мире вела себя приблизительно одинаково, то есть гиперактивно.
Ну и, конечно, английский перевод названия "Течение" намного более точный, чем русский "Кто их рассудит".
A jazzy, visually elegant Hungarian variation on L’Avventura. Less metaphysically minded than Antonioni, Gaál may ultimately solve the mystery of young Gabi’s body, though he leaves it fascinatingly open-ended regarding just what the current is that pulled him under; the inescapable tides of history, the weight of seismic political upheavals, the inevitability of adult stagnation, maybe just the cruel whims of time’s passing. An idyllic summer’s day abruptly ended, so much youthful energy transformed into so many private torpors for the group of friends reckoning with their loss; each of them left wondering what could have happened differently, why they find themselves moving on nonetheless, wishing they could remember or mourn in some more profound way. “I’m afraid of everything.”…
This review may contain spoilers. I can handle the truth.
Perhaps inspired by Antonioni's L'Avventura, this is another chronicle of a (n acquatic) disappearance and its consequence on people who witnessed it (and on the relatives of the missing person). I detected also plot elements in common with the recent Farhadi's About Elly; while I can concede that the 2009 iranian movie works also as an examination of personal issues that the author has with his country's culture, I should say it was striking how this 50 years old Sodrasban, especially thanks to the director Istvan Gaal, simply terrific in showing the richness of his skills-set, turns out to me, in stark contrast, as a very focused and more accomplished effort
I never seen water shot so beautifully and so seductively dangerous. A movie that I will always be thinking about
I was in awe of the one other Gaál film I'd seen, The Falcons, and equally struck by this one. Gaál's minimal compositions, pastoral setting, and intimate character examinations are very much elements I seek out and often find in Hungarian cinema.
Love to discover a filmmaker like this, whose work is a revelation and whose oeuvre is tight enough that I can knock out anything else with English subs I haven't seen within a week. So, on to Keresztelö, Green Years, and Dead Landscape...
It was incredibly difficult to tell the difference between the five guys in this movie. The drama just wasn’t interesting, especially when I spent the runtime forgetting who was who and which friend had gone missing. There’s a scene early on where two of the boys cover themselves in mud and dance around a fire with sticks, which made me care even less about what happens to them.
Despite all the meh, the direction and cinematography really shine! Night time scenes are barely lit and leave haunting silhouettes against dark sky. I’ll be straight up, I watched this for the hot boys in their underwear… I don't recommend this movie if you're interested for similarly shallow reasons.
Ezt a filmet egy 'Film és zene' modul miatt kellett megnéznem, de literálisan semmi köze nincs a filmnek a zenéhez azon kívül hogy van benne pár betétdal, like wtf.
"What Current offers is minimalism at its most seductive. The opening might take a while to settle into, with Gaál’s camera hanging back some distance from the group of friends the film follows. It can be hard to differentiate one character from another, which eventually becomes recognisable as the film’s point: at this time, in this place, the friends are one unit rather than a group of individuals. In place of characterisation, we hear snatches of dialogue – 'You’re always joking about serious things…' – that seem to offer some kind of thematic guidance."
Read more at The Geek Show.
A termelési szabotázsfilmek után friss levegőként hatott.
A group of young friends gather together and go to the beach and let loose with a number of hi-jinx. After they've gone for a swim they make way to the woods when they find that one of their friends has disappeared and from there they fear the worst. They call the police in (they're an extremely sensible bunch, this lot).
As the film progresses we see the group feel fear, sadness, regret, resentment and, of course, loss as they drift apart one by one in their grief. The camera's graceful movements throughout the film conveying their emotion so exactly. We're left with a profound sense of grief as these teenagers are left to come to terms with what happens when all around them have managed to disconnect themselves so as to function properly. They can help out whenever they can but can only offer mere condolences where possible.