Zuzana Kirchnerová Road Trip “Caravan” opens with a series of perfect holiday scenes. A wide shot of a quiet swimming pool. A beach ball, closely, with iris sequins inside. Lambat rays of a laziness lies off the surface of the pool. The neglected audio boxes, “will be nice, David. You will see.” The whisper was detected as a mother, reassuring her child as they lie next to each other in bed under a white sheet. If Terring Malek made a commercial advertisement to an Italian holiday home, it will go like this sequence. However, IDYLL is a short -lived mirage.
It was mainly photographed in Reggio Calabria, Italy, as well as Bologna and the Czech Republic, this is the story of my 45 -year -old single mom (Anna Jeslrova) and David, 15, David Vodstrelan), whose vacation with comfortable middle -class friends when the couple is asked by the family to remain with them to move in Caravan. This unexpected request is deposited due to the inability of friends to deal with David’s behavior: It is intellectually disabled, and this sometimes leads to an explosive material spray. She exhausted and educated after she heard a sponsor conversation about David, leaving Esther in the caravan, taking her son in an improvised campaign, during which she joined LiveWire Free Spirit Zuza (Juliana Bruvska).
“Caravan” coincides with the return of the Czech film industry to the official choice at the Cannes Festival after a 30-year gap, and so far, Kirchnerová is also the only Czech director who wins Premier Prix in Cinéfondation in Cannes-2009. It is possible that the body’s work body has been concentrated so far on the obligations of sponsorships answering the answer. Based on the short song about the struggle of a teenage girl to provide care for the grandfather of bedding (BABA), and the drama of the document follows four women through pregnancy (“Four Cases”), “Caravan” is a firmly rooted movie in the experience of providing full -time care for another person while trying to also as if yourself. In the case of Ester, the self is what carries the weight of its work, and its existence is like anything that gradually exceeds the provider of the care, without end on the horizon.
Partially as a result of the coordination of the road trip, “Caravan” has not been tightly drawn, as short articles are revealed by somewhat replaceable matter with ESTER, David and Zuza at the world’s fissure. The issue of sex wears his head in several ways, and sometimes with regard to the situation of David as a curious teenager, but often around his mother, as Ester is trying to move between the romance that someone may seem to be in its position.
Dating as one parent is already fraught with a dilemma of how, and when, and if revealing the presence of your child, a decision about the child’s welfare like anything else, but also tends to give the condition of the secret that must be managed on one parent. Ester deals with very certain circumstances, moreover, as she runs her son’s experience in the world in a way that differs from the experience of the majority of paternity and teenage motherhood.
One of the prominent scenery in the ERVE Life deals with an ambiguity about sexual approval in a unique way: ESter is suggested by an old farmer who has employed and Zouza as an official worker. Initially is not sure, Ester allows a man to touch her, and as scenes, the scene is mysterious. For Zuza, when he stumbles through them, this is clear that this is an old, dirty man who runs her friend, interacts with explicit anger, kidnapped the estate away and outside the farm. Shortly after that, Esther collapses crying, and the scenes experience doubled, before she explained: She was already enjoying herself. Zuza is all apologies and laughter.
David, at the same time, is “getting this peach fluff on the chin,” says Zouza, and knowing how to deal with his increasing interest in other bodies is a question that the movie leaves somewhat open. The film swings in the life of Kirchnirova, which provokes a child with Down syndrome and autism, and the film has a basic tenderness that works all the time, while the most stringent scenes earn her place on the table with their feeling of originality and personal certificates.
Like a small child, David expresses his physical anger and without being seized, although he has the strength of a strong young man. He expresses his anger without any candidate, but this is not his mistake – which does not change the fact that punches and scratches cause severe damage. Watching Ester is trying to move in this love, but a little external support is undoubtedly difficult.
Nothing here does not see any place unexpected, but that is good. With some films, all pleasure is to reach there, and with others, and the same applies to deliberate discomfort. This is a film determined to take you on an emotional journey sometimes but often painful, and it does it in a clear way in general, born of experience.