Díra u Hanušovic
Directed by:
Miroslav KrobotCinematography:
Jan Baset StřítežskýCast:
Tatiana Dyková, Lenka Krobotová, Johanna Tesařová, Ivan Trojan, Jaroslav Plesl, Simona Babčáková, David Novotný, Hynek Čermák, Lukáš Latinák, Ján Kožuch (more)Plots(1)
In a small village in the mountains of Moravia lives Maruna (35), who works at the local pub, takes care of her dictatorial mother, and has several affairs among the local men without, however, finding love. Maruna's sister is more ambitious, and when she has a chance to leave the village she takes it. For Maruna, the village is her destiny – one that she can never be separated from. Also living in this sleepy hollow are two forest workers who share the same woman, with whom they live together in an old cottage. The whole village knows their arrangement, and in a way tolerates it. But one day, the woman disappears and is later found murdered. For just a moment, the village's usual calm atmosphere is disturbed, but otherwise everything remains in its routine. When Maruna gets pregnant, she suddenly realizes that her life is too much like her mother's. The circle is closed. (official distributor synopsis)
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Reviews (8)
Fans of Dejvické divadlo, this group around Miroslav Krobot cannot disappoint. I have to admit that I had doubts after the first fifteen minutes, but then my doubts completely disappeared and I had a great time. The humor is heavily based on vulgarisms, but that's the beauty of Czech language, that when used appropriately, they have the same status as other literary words. In terms of acting, in my opinion, Simona Babčáková and Jaroslav Plesl fit the most. The only one who was actually missing was probably Neužil.
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Czech intellectuals who concentrate in cities usually go through two phases in relation to the countryside. The first represents idealization. They associate the intimately familiar urban environment with all imaginable flaws of modern civilization - consumerism, egoism, self-centeredness, promiscuity, and overall moral degradation. The countryside is supposed to be a place where the communal way of existence still functions, where people live modestly and in a harmonious relationship with nature, engage in publicly beneficial work, and preserve valuable cultural traditions of past generations. This idealization is even stronger when it can be supported by filtered childhood memories when they experienced wonderful adventures with relatives. Let's clarify what the countryside is not: satellite towns in the area around big cities with good transportation services, where those who cannot afford expensive urban housing move to. When intellectuals become acquainted with the reality of the countryside, the second phase sets in: profound disappointment. The intellectual is taken aback by the poverty of spirit (those who want something from life head elsewhere for education), the absence of the younger generation, the harshly pragmatic and even cynical relationship with nature, encountering envy and the desire for inaccessible consumption, which often takes on a sadly grotesque form. Cultural stimuli are missing, and instead of warm camaraderie, there prevails isolation and mistrust. Miroslav Krobot clearly went through the second phase during the filming, and the result reflects that. As a comedy, the film works if you are willing to reduce the comedic aspect to caricatures of rural boors. However, it does not work in terms of its dramaturgy, and Krobot did not showcase himself as a director with this film. The only strong aspect is the cast, which utilizes the strong lineup of the Dejvice Theater. I don't really understand the awards it received because it is a film that should not be included in the nomination at all, let alone reap its rewards. As a portrayal of life in a village, it is forced and exaggerated, and one is rather inclined to contemplate how the local economy and society function. Does a pub survive in a settlement with only a few dozen inhabitants? Overall impression: 40%.
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A concentrated nothing made into a film. Every such film makes the Czech comedy The Inheritance by Věra Chytilová look more and more like an important milestone of Czech cinema. Nowhere in Moravia doesn’t have a single scene that is actually funny and to the point, whereas The Inheritance is full of them.
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A few interesting scenes and forcing yourself into deadpan poetics are not enough when the film relies on the classic pillars of Czech comedy: rednecks, pussies, vulgarisms, sweaty sex, and stars playing in "comic disguises". Add to that stupid stereotypes and the invention of a new form of dialect, which is the only thing that Krobot excels at. Nowhere in Moravia offers the misery of Czech cinema in full, but in a slightly more acceptable packaging.
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A lot of people probably overlooked that the film is not called Vikantice u Hanušovic and that it is not a documentary about a village, but a film about people, or rather about human nature, about the faltering human destiny, about the effort to get from somewhere to somewhere, or from nowhere to nowhere. I believe this is one of the best Czech films in recent years. I can feel something of the Czechoslovak New Wave of the 1960s in it, it also takes place in a kind of non-specific timelessness, and it's a bit theatrical. It's more of an absurd metaphor than a normal story, which makes it more impressive. I thoroughly enjoyed not only the weird mood, but especially the top-notch performances by everyone, and I do mean everyone. I didn't expect the ratings to be so low and me to go so much against the tide.
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