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Tomáš Vorel st.Kamera:
Tomáš Vorel st.Besetzung:
Anna Kameníková, Tomáš Vorel ml., Tomáš Hanák, Barbora Nimcová-Schlesinger, Eva Holubová, Bolek Polívka, Jiří Schmitzer, Marie Štípková (mehr)Inhalte(1)
Honza Marák has long since left his career in IT behind him and has bought a cottage at the end of a small village, where he has settled in with his wife Markéta, daughter Anyna and son Sayen. He works in the forest as a general labourer. Markéta earns a living providing massages and alternative treatment to her patients, for which she uses various psychotropic plants and mushrooms, which leads to a conflict with the long-term residents and ultimately with the drug squad. Their daughter Anyna goes to an elementary school in another town, where she is falling behind because she wanders through the forests and learns from nature instead of from textbooks. The Papoš family are farmers of long standing in the community. Their son Ludva Papoš jr. does not live on the farm with his parents and he refuses to tend the farm with his father. He studied forestry college and lives in a gamekeeper's lodge in the middle of the forest, all alone with his dog. After work he goes to shoot pests when, one night, he encounters the nymph Anyna, a vegetarian... (Verleiher-Text)
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Ein ungefähr so stark ökologischer Agitationsfilm, wie die legendäre tschechoslowakische Komödie Das einsame Haus am Waldesrand - und wenn denn schon, dann vielleicht gerade noch New Age. Lediglich medium gebraten im Vergleich zum "Einser“ und etwas weniger naiv und offener gegenüber dem, dass die Figuren nicht die Folgen ihrer nonkonformen Meinungen auf sich nehmen. Ansonsten ist dies ein recht angenehm lyrisches Lob auf die Jagd sowie das Leben im Wald, der von Figuren bewohnt wird, die nicht mehr so karikiert wirken, wie im Falle des tschechischen Films Out of the City. Dementsprechend gibt es hier weniger in-situ Humor im Stil der Schauspielergruppierung Sklep, dafür aber mehr seltsame oder ernsthafte Dialoge hinzugefügt - doch es ist schwer zu leugnen, dass sobald eine fundamentalistische Meinung auf der Szene erscheint, so zerschmettert Vorel diese mit einem ironischen Kontra. Letztendlich also: Gelobt seien die Jäger, die Pilze essen. Die Dorfidylle lebt und ich genieße das hier immer noch. Aber bleib doch einfach Thomas, noch etwas auf dem Hochsitz und schieß noch ein paar Wildschweine. Uns gestressten Intellektuellen aus der Stadt mit aggressiven urbanistischen Farcen kann mans´ eben nicht recht machen. Doch diese Massage mit Cannabis und Giftpilzen nehme ich gerne.
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This is a big leap up from the still somewhat controversial Out of the City (which I now prefer more and more). To the Woods again has a strange (non) story like its predecessor and the same bizarre characters played by deliberately overacting (non) actors, but in terms of atmosphere and poetic mood, it is a much less aggressive and much more pleasant soothing film, which, despite all the bizarreness, perfectly and believably tells about life in the village and in nature, about the common worries of ordinary people, about their values... Vorel doesn't moralize, but at the same time he shows us how he knows and sees it all and how he imagines it should work to make the world beautiful. Of the actors, in addition to all the proven aces, I have to highlight the perfect central pair.
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This is a sequel to a film that came out twelve years ago, and this film isn't worth it. The modern story of Romeo and Juliet provides nothing new, perhaps only acting opportunities for the friendly bunch. The seemingly eloquent shots of the forest lack personality and the inconsistency with the first film is most acute when comparing Hanák's etudes, which have no point in the second film. Polívka and Holubová repeat for the hundredth time what they have done many times before, Schmitzer's storyline might have had more to it, but again it didn't reach any point, and this time Bára was essentially pointless. If Anna Linhartová is super fashionable now, we're in for a lot pointlessness.
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The film no longer focuses so much on the character of Tomáš Hanák, but on his film daughter - the continuity in terms of age is certainly not entirely accurate, and it is a loose sequel. This daughter, who takes after her mother in being very nature-oriented, is essentially an activist, just on a small scale. She loves the forest and all living things, so she automatically comes into conflict with the young forester - played by the director's son. "Journey to the Forest" is nothing more than an ecological romance, which sounds quite terrible. There are some good scenes here, but overall, it simply feels like rehashing the same theme, which is close to Tomáš Vorel, but it actually comes off as a modern hippie film. The second time around, it didn't appeal to me as much, even though young Vorel surprisingly performs well.
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