Soukromý vesmír
Opisy(1)
Petr Kettner i Jana Pfefferova pobrali się w 1974 roku i zamieszkali razem z dwiema babciami w niewielkim jednopokojowym mieszkaniu w Pradze. Rok po ślubie na świat przyszedł ich pierwszy syn - Honza. To właśnie skłoniło Petra do rozpoczęcia dokumentacji ich rodzinnego życia i czasów, w których przyszło im funkcjonować. Robił to w formie pisanego i kręconego kamerą dziennika. Film Heleny Třeštíkovej wykorzystuje te nagrania, stając się tym samym próbą "uchwycenia" czasu zarówno w wymiarze jednostkowym, jak i społeczno-politycznym. (Against Gravity)
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Recenzje (3)
A rather uninspiring and monotonous way of working with the material. The whole movie just revolves around the father sleepily reading aloud or watches the eldest son, who is simply a slacker and does not have much to offer. It bothered me that the mother of the family was only given very little space at the end of the movie, and the daughters didn't seem to exist at all. I like documentaries that follow a passage of time in the lives of ordinary people enjoy their fates whatever they are, but Private Universe did not suit me overall.
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Gagarin, Karel Gott, and other Czech families through the eyes of Helena Třeštíková. This time the probe is all the more interesting because Hela captured the story of the first-born son of her lifelong friend. Private Universe then follows in an arc Helen's debut Miracle, which originally captured only Jan's birth and the transformation of his mother during her first pregnancy. Helena was very cute at 26. In the finale, she needed to make sure we understood her leitmotifs with Gott and Gagarin, precisely because it was such a personal statement.
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As for the son Honza, it shouldn’t jump his childhood and adolescence by summing up ten years in two sentences and begin to focus on him at the age of thirty. If it was meant to record the ups and downs of a regular family against the background of Czech(oslovak) history of the past forty years, it would have to go into much greater depth (impact of post-revolution changes etc.) and not to just cut in a couple of New Year’s Speeches and a little reading of diaries, when the family doesn’t have the chance to say anything more interesting than “such and such a year: our first car". But this way, this is only about our bard Karel Gott and his typical “little-Czechness", meaning he would have even sung Happy Birthday to Hitler, if the era demanded. So what was Třeštíková trying to prove? Hard to say, but the result is identical to a visit to see elderly in-laws, who without fail immediately reach for the family album as soon as you appear at the door.
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Photo © Aerofilms
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