В ожидании варваров (Waiting for the Barbarians)

Полноценный трейлер так и не завезли еще?

 

На ютубе есть

десятисекундный отрывок. Непонятно, откуда выдернутый.

Отрывок показывали на церемонии открытия

Отрывок показывали на церемонии открытия

Ясно, спасибо!

Ну может хоть к премьере трейлер подгонят.

Variety

Coetzee’s adaptation is particularly wordy and stilted in the early going, translating a little too much of the novel’s drily perspective narration into declamatory, on-the-nose dialogue — for which Guerra, in his first English-language project, doesn’t exhibit much of an ear. Rylance, never the wrong man to cast if you’re after shambling, compromised integrity, finds the rhythm eventually; Depp, often concealed behind steampunk-style sunglasses, is required to work a narrower icy-droll range.

Yet the film, divided into four seasonal chapters, takes a welcome breath once stilted matters of bureaucracy are set aside and the Magistrate’s inner life comes to the fore. Later, a reparative journey into the unforgiving desert, with the Magistrate’s reluctant lover in tow, finds Guerra far more in his element, largely eschewing dialogue for gesture and delirious environmental menace

From here on out, “Waiting for the Barbarians” steadily accrues a grave, violent anger over encroaching systems of oppression that proves infectiously troubling and enraging, as Guerra’s filmmaking gets wiser to tacit details.

Yet this flawed film also slowly sheds its words to ever more stirring effect, toward a finale that largely gazes upon colonial carnage in stunned silence, as despots are disarmed, soldiers become scarecrows, and a teasing final shot — in the film’s most provocative break from Coetzee’s text — points to further cycles of conflict.

IndieWire C

Guerra’s English-language debut finds the filmmaker working in a more subdued register, foregoing the oneiric flourishes of his most recent output for the more staid stylings of prestige literary drama

Thing is, allegory works differently in literature than in cinema. On the page, a bit of fuzziness with the details and a touch of concerted vagueness can have a dynamic effect, fueling the imagination for a narrative that already plays out in the mind’s eye. But film — ploddingly literal film — requires its creators to really build and shade-in this parallel world. Casting choices aside, “Waiting for the Barbarians” never really does, giving the proceedings a whiff of run-of-the-mill 19th Century literary epic that’s neither here nor there.

On a purely technical level, cinematographer Chris Menges does no disservice to the sweeping vistas at his disposal, Marco Beltrami conducts another noteworthy score, and Mark Rylance has never acted a false note in his career – it’s all perfectly well-done, and it all recedes into memory the instant you leave the theater

“Waiting for the Barbarians” is a film that puts on its best clothes, assumes its most sober voice, and then stands tall to tell us: Imperialism Is Bad. The message is not wrong, but it certainly is a disappointing use of Guerra’s talent.

THR

The critique of those in power and their need to put down others — preferably foreign or different-looking people — in order to stay on top is still as relevant in 2019 as it was in 1980, when the novel was first published. But like its noncommittal production design, which combines various North African, Middle Eastern and Asian influences for the locals and locales, the critique itself remains finally quite dull and dispersed because it's so broad and unspecific. (Whereas novels allow readers the luxury of imagining that nondescript countries look like their own, films require something concrete to look at onscreen.)

As a viewer, it requires hard work to feel something that goes deeper than common-sense pity when confronted with stock characters stuck in a generic predicament in a nonspecific time and place. The sheer force of Rylance’s performance almost makes it work.

The Guardian 3/5

«В ожидании варваров» Сиро Герры: Диктатура Джонни Деппа

Конкурсная программа фестиваля завершилась показом фильма на основе романа нобелевского лауреата Джона Кутзее. История, написанная в 1980 году, получилась зловеще актуальной, считает Ольга Белик.

Пока вроде тишина.

блин, у меня из башки совсем вылетело - о чем там книга, героев еще помню, кое-какие детали. Но в целом... Если и буду смотреть кин, то будто первоисточник не читал...

Аналогично. Помнился только один момент с пустыней и всё.

С вики более менее вспомнилось, и что-то мне кажется, что тяжело всю это атмосферу в фильм перенести. Выйдет что-то средненькое.

Оценки на imdb уже стоят 336 штук, и средняя оценка не очень - 6,1.

Аналогично. Помнился только один момент с пустыней и всё.

а давно читал?

а давно читал?

Примерно 11 лет назад. Блин, как же давно...)

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Намек на Французкую колониальную империю?

У Деппа очки клевые.

Оу, как красиво, Марк Райлэнс похоже на награды наиграл и Депп тут прям хорош, можно глянуть.

При томатах в 50% - вряд ли какие-то награды у кого-то будут.

При томатах в 50% - вряд ли какие-то награды у кого-то будут.

Блин, не видела томаты... Ну печалька тогда. Но по трейлеру видно, что наиграл, в любом случае.