Director:
Michal SamirGuión:
Michal SamirCámara:
Martin ŽiaranMúsica:
Boris CarloffReparto:
Jiří Kocman, Hana Vagnerová, Jitka Schneiderová, Michał Sieczkowski, Ondřej Malý, Pavla Tomicová, Tereza Vítů, Róbert Nižník, Lukáš Adam, Ondřej Mataj (más)Sinopsis(1)
Jiří makes a living selling drugs. A young lady struggles to break up with her long-term partner, because he is too kind. A poet, who lives in a romantic illusion. Caring mothers and diligent fathers trying too hard. Everyone retains their own world - until one evening, a violent street riot kicks in and all their fates intertwine. HANY daringly explores a society whose time flows between its fingers. For that reason, the creators of this film decided to tell its story in one continuous take. (texto oficial de la distribuidora)
(más)Videos (3)
Reseñas (4)
Me repugna mucho desperdiciar películas, pero cuando uso el diccionario de dicha película, se trata de una estupidez tremenda que dio a luz al idiota más grande y perdedor de los últimos años interpretado por Jiří Kocman. Durante los primeros quince minutos, maldije en silencio qué tontería estaba viendo de nuevo, luego cedí un poco en mi juicio y me interesé en dónde llevaría la trama, pero a la mitad, Hany empezó a cagarla de una manera tan increíble que incluso empecé a maldecir en voz alta. No podría soportar a un idiota como Jiří en mi compañía ni siquiera por cinco minutos. Fue mucho peor que Bony y klid 2, y eso es decir algo. Definitivamente la peor película del año 2014.
()
Es evidente que realizar un largometraje con sólo tres cortes debió de ser extremadamente difícil. La plétora de personajes, las fiestas salvajes, los viajes nocturnos en tranvía y las manifestaciones en las calles funcionan mucho mejor de lo que esperaba (y cuando comparo Hany con otras películas extranjeras, rodadas con un número mínimo de tomas, la representante checa es claramente la mejor). Es una lástima que Hany carezca de un arco argumental significativo y que, en cambio, ofrezca «sólo» breves retazos de diversas situaciones, a través de los cuales pone un espejo ante la generación actual, y mediante diálogos banales se expresa sobre temas fundamentales (la violencia en el hombre, el aburrimiento que culmina en agresión). Y luego, son tratados de un modo que suele ser bastante embarazoso en las películas checas sobre la juventud contemporánea, lo que no ocurre aquí. Si hay esperanza y sangre fresca en el cine checo contemporáneo, que promete una afluencia de energía palpitante de entusiasmo, es sin duda en el equipo creativo de Michal Samir y Matěj Chlupáček.
()
Even though the format is impressive, and I admire anyone who takes on shooting without editing, that's really the only thing I could and would admire. Otherwise, I find it incredibly hollow and just a showcase of uninteresting characters - at least uninteresting to me - that I don't want to watch. Each of them is irritating in some way, though most of all Jiří Kocman. None of them really have anything to say.
()
An empty emptiness that says nothing, even about emptiness itself. If this is supposed to be an attempt to diagnose generational frustration, only nicely-filmed generational clichés have been created. Screenwriting exercises with poorly-constructed characters, uninterestingly stagnant situations which, even when filmed in one (three) shot(s) do not create the impression of fluidity of time and space, but rather disconcerted volatility from detail to detail, and from there to a helplessly cycled whole. The naturalness of the conversation is constantly brought down by the fact that the characters, in addition to the constant babble, also emphasize the wearing of masks and the exhibitionist covering of their own insignificance (it is sometimes so stubbornly literal that it seems completely unrealistic). The essence of frustration and aggression probably unintentionally appears here as something that the creators secretly fear from behind safe cafe windows, but they are not able to give it a meaningful shape and motivation. When Samir refers to the London Riots, in relation to Hany I remember the mocking chorus of the destructive symphony of London rapper Plan B: "Oiy! I said Oiy! / What you looking at you little rich boy! / We're poor 'round here, run home and lock your door / don't come 'round here no more, you could get robbed for." From the youngest generation, I would expect radicality, irritability, subversiveness, not comfortable undiscovered stereotypes. I really can go squat in Hany Bany and stare dumbly on the street, where the same empty, irrelevant, but noticeably screaming nothing has been going on for years. Two stars for the courage to try to film differently and Žiaran's quite impressive camera. [40%]
()
Anuncio