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Denis Villeneuve o Dinama

prevod sa francuskog

(čovek kao da doktorira na Dinama)

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Dune opens with a slight vertigo: humanity survived some twenty millennia when Paul Atreides was born. This promise seems even more disturbing today, while we collectively know that our world is silently faltering, before our eyes, as in these frightening dreams, due to sleep paralysis, where the body no longer responds to consciousness. We hear daily the apocalyptic echoes of scientists predicting a collapse in the balance of our ecosystems, but we barely flinch, remaining convinced that our mastery of technology will eventually overcome nature. This fantasy of domination of the elements is not new. We have always had a penchant for challenging the gods. Obviously, we have gradually lost our sacred relationship with the world. This is one of the reasons why I believe that Dune is completely current.

If the sentence "The twentieth century will be mystical or will not be" attributed to André Malraux is indeed his, I dare to imagine that he saw the potential complete desecration of the natural world by the hypnotic exacerbation of a savage capitalism. This tendency to objectify nature transcends Western borders, with neoliberal policies and their globalization turning into true planetary dogmas, so economic religion now reigns over all spheres of human activity. Everything can now be bought, even consciences. This system is overpowering, ruthless, cheating, with colonialist hints, sometimes even generating psychopathic corporate entities, in short this system is Harkonnen. And to overthrow it and survive its consequences, we may have to follow in the footsteps of the Muad'Dib.
Dune's idea was born in 1957, when Frank Herbert flew over sandbanks along the coast of Oregon between Coos Bay and Florence. He then moved from Seattle to write an article on an ecological experiment: a new species of grass had just been introduced to curb the spread of dunes that threatened vegetation, roads and drinking water bodies. From the power of nature and the human effort to try to control it had just been born an impetus that would animate all its creation for the next twenty-five years...

Frank Herbert explores, in particular, the links between ecology and religious forces by orchestrating a true celebration of the living and its interpretation, reintegrating the notion of the sacred into the dark folds of the natural world. The manic and poetic precision with which he succeeds in creating the immense ecosystems of Arrakis is sincerely moving to me. A very scientific logic is applied in the description of the smallest details that constitute the habitats of Dune. "The incense bush and the smoke tree, the sand verbena and the creosote bush, the pocket fox and the desert falcon" exist by themselves as a poetic extension of what constitutes our terrestrial ecosystems. These same species being in turn reinterpreted by the imagination of the inhabitants of the Arrakis deserts, the Fremen, a poet people of extraordinary technical, even artistic ingenuity, living in symbiosis with the elements. And at the very center of their awakened dream sits the immense entity of the Shai-hulud, the giant sandworm, incarnation of the living god of the desert spaces of Dune.
This fremen symbiosis where life and death are hand-to-hand and in balance, where science and imagination of the biosphere evolve into a common impulse towards the truth, is a powerful call to humility. Dune vibrates the unconscious strings of our first perception of the world, to find a sacred dimension, a thought in relation to the wonderful of the living, with the Ayat, the sign of life. Because our future will see our relationship with Mother First become sacred again, or it will not. The human beings of Dune are therefore melancholy isolated, struck by the evocative power of the landscapes that brings them back to a welcome vulnerability and humility. The desert is inscribed as the territory of the divine, but also as a mirror of consciences where silence reveals the rhythm of hearts and breaths. Infinity always abruptly refers us to our inner life, the physical exploration of the Arrakis desert being accompanied by an involuntary plunge into the unconscious. We descend slowly within ourselves according to the dunes, a labyrinth in constant metamorphosis, where the source of our most intimate ailments seems too often to slip between our fingers, elusive as sand, at the risk of losing our reason. With each new dune, a new hope, like the comfort of prayer when you indulge in it without waiting for an answer.
From his first contact with the deep desert, Paul Atréides feels strangely at home there, as in a house where he would have lived part of his childhood. What was supposed to be a uprooting for the young man gradually turns into a return home, like a furious and insane déjà vu. Paul is amazed by the survival strategies of the living, but above all transported by an introspective movement where he comes into contact with his own purpose and this bitter melancholy of those who sense things too acutely. And if the desert is reassuring for Paul because it is singularly familiar to him, it also becomes just as confusing because this familiarity is accompanied by a sudden and dazzling opening of his inner eye, in full awakening. His baptism of the desert, presided over by Shai-hulud himself, opening wide the floodgates of his mind, Paul receives the desert in the face and his subconscious fully surfaces.

Like a powerful movement of inspiration, a painful epiphany, where he perceives the world as it really is, but above all where he senses what his true share of responsibility will be in the continuation of the cataclysms to come. A waking dreamer is therefore at the center of a burned landscape, a sleepwalker slowly progressing on the steep rope of doubt, overlooking the abyss of collective nightmares, slowly guessing that part of his innocence will have to die in order for him to survive the severity of his new reality. Paul will have to become an adult, not sure how to protect the vestiges of his childhood, lacerated alive by the winds of a Coriolis.
At the time he was accepted by the Fremen, Paul Atreides chose Muad'Dib as his adopted name. The Muad'Dib is a small kangaroo mouse, admired by the Fremen for its great ability to adapt to the desert. Paul will survive the flood of hatred that falls on his family and people because he has assimilated elements of this fremen survival culture that intuitively attracts him. He embraces this new culture, he does not come to contaminate it but blend into it. This openness to the other, against the tide of the colonialist mobilities, heralds a new era. Acceptance of complete paradigm changes will guarantee survival for Paul and his mother Jessica. The notion of adaptability is one of the keys to the novel. "Intelligence is the ability to adapt to change," says theoretical physicist Stephen Hawking. Frank Herbert, for his part, maintains that "survival is the ability to swim in strange water".

I also have a particular affection for this absolutely brilliant idea of the sand walk, the "sandwalk", as named in the original English version of the novel. Fremen who venture into the sand plains must force themselves to imitate in their gait the chaotic sounds of the wind on the sand if they want to avoid perishing in Shai-hulud's belly; sandworms are attracted to all forms of rhythms, mechanical or human. For me, it is the strongest image of the novel: the human must imitate nature as humbly as possible in order to survive it. This surprising survival strategy reveals a physically demanding and exhausting choreography leading to a quasi-artistic performance.
But as Frank Herbert imagined a cynical world whose foundations are built on multiple machinations interlocking in each other, Paul finds himself trapped in a masterful spider's web woven by another of my favorite ideas from the novel: the congregation of the Bene Gesserit Sisters, of which his mother Jessica, is herself a part. His adventure turned into a real tragedy, the Fremen, now his brothers and sisters, who at first appeared as his salvation are in reality a trap. Their religion having been influenced by the Bene Gesserit, the Fremen see Paul as a possible messianic figure that can eventually guide them towards the realization of their ancestral dream: to regain possession of Arrakis from the hands of the exploiters and restore a balance to abused ecosystems. Paul must learn to preserve his free will, as he discovers the instrument of millennial manipulation, like that unconscious force of genes that directs us without our knowledge.

Embracing Aboriginal thought, seeing their dream of a world with a regained ecological balance, and opening up to the mysteries of Dune's ecosystems, Paul is confronted with their religious fervour. He apprehends the great revolutionary movement that will take shape in his name. Thanks to him, humanity may be able to find its way back and re-establish the sacred space reserved for nature, without falling into the bloody trap, he hopes with all his heart, of fanaticism.
If we accept cinema as a bridge between the world of dreams and reality, and if this awakened dream proposed by the adaptation of Dune is inspired by both the novel and the trajectories that we have collectively taken, like Frank Herbert, I can only anticipate with fear the violence that will inspire a nature finally cornered at the foot of the wall. Obviously, if we do not change our trajectory, like Paul Atréides, we will have to learn to swim in strange waters

https://www.lepoint.fr/pop-culture/denis-villeneuve-pourquoi-dune-est-un-roman-completement-actuel-30-09-2020-2394355_2920.php

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pa jes, ko sad da ostvari uspeh u Box Office, kad nema ko da attend

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čovek je POTPUNO u pravu......razne DIne su snimane ali nijedna nije imala sreće,,,,izgleda ni ova sad...

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Pozdrav.
Kad već nema posla (na poslu), daj da nešto radim...da "vraćam dugove".
Bar 2 meseca pre nego što će na sebe skrenuti pažnju, meni je na ovaj film pažnju skrenuo jedan prijatelj.
Koliko mi se čini, ovde nije spominjan:

https://www.imdb.com/title/tt6751668/?ref_=nv_sr_srsg_0

ali verujem da ga je većina pogledala (prikazan na RTS veče pre nego što je dobio Oskara).

Od istog "kuvara", ovaj ste verovatno pogledalii, a ako niste-SLOBODNO ODMAH, pa tek onda onaj gornji.

https://www.imdb.com/title/tt0353969/?ref_=nm_knf_i4

ako vam se prethodna dva dopadnu, ovo je prvenac (ne znam zašto, ali UVEK me interesuje nečiji prvi film ili prvi album....tu mi je svako nekako svoj, čist, najisktreniji, a u većini slučajeva se ispostavi i najbolji....ovde ovo poslednje nije slučaj, ali je DOBAR)

https://www.imdb.com/title/tt0269743/?ref_=nm_flmg_wr_12


dotični gospodin
https://www.imdb.com/name/nm0814280/?ref_=tt_cl_t1
korejski Bata Živojinović, ima priličnu filmografiju, pored uloga iz prva dva linka, meni se dopao i u:

https://www.imdb.com/title/tt6878038/?ref_=nm_flmg_act_4
https://www.imdb.com/title/tt3404140/?ref_=nm_flmg_act_8

a ako vam se dopadne tema ta dva filma, ovaj je na istu temu, bez Bate, ali baš, baš dooobar.

https://www.imdb.com/title/tt6493286/?ref_=nv_sr_srsg_0

i tako, dok vas drži Korea, overite i ovaj.....dovoljno napet da drži pažnju, a ne opterećuje
https://www.imdb.com/title/tt8088944/?ref_=ttls_li_tt
 
Uživajte.

 

 

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Otkazane Dine za godinu dana... Za prvi Oktobar 2021....
I ne samo taj film masa filmova...
Necemo mi da vidimo dobar film do 2022, pod uslovom da ostanemo zivi.
Jedino da prebace sve na streaming servise ali to im se ne isplati.
Pretplata Miko za Netflix, Hbo i uzivaj

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a moze i Kodi :)

nego, da prekinu public filmova na jedno 5 godina, ima sta da se gleda a da nije pogledano .....

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a moze i Kodi
nego, da prekinu public filmova na jedno 5 godina, ima sta da se gleda a da nije pogledano .....
Ima i toga...
Netflix npr ima godinu dana unapred spremljen sadrzaj zato i spomenuo...

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pre 11 časa, shonne reče

Ima i toga...
Netflix npr ima godinu dana unapred spremljen sadrzaj zato i spomenuo...

Gledajući HBO i ostale od toga sadržaja valja 40% - ostalo je teški šit - samo da popune termine ....plus filmovi koji izlaze na TV i striming platformama su uvek ispod 50 milona budžeta - serije su još sa manje - sem nekih ekstremnih kao GOT :drink:

 

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4 hours ago, Mikorist said:

Gledajući HBO i ostale od toga sadržaja valja 40% - ostalo je teški šit - samo da popune termine ....plus filmovi koji izlaze na TV i striming platformama su uvek ispod 50 milona budžeta - serije su još sa manje - sem nekih ekstremnih kao GOT :drink:

 

Delimicno si u pravu.

Imam pretplatu na Netflix od pre 3 god., a HBO GO imam preko godinu dana.

HBO imam u GOld Trio paketu + loyality ( dobio na 3 godine ).

Netflix - slazem se da ima gomila tresha, ali ubacuju sve vise i vise evropske filmove i TV serije. Takodje, ubaciju i azijske gde se ima sta videti. Dalje, bili su ocajni sa prevodima na Srb ili Cro. Pisao im u par navrata, bez odgovora.

Ocigledno je da im je neko ozbiljno prigovorio iz Cro, a koja je ipak drzava u EU, tako da se svakodnevno stvari popravljaju po pitanju prevoda na Cro. Cak i starije tv serije i filmove naknadno titluju. Sve novo sto izadje ima Cro prevod.

HBO GO - progledao sam kada sam je uzeo nezavisno od SBB-a. Za mesecnu pretplatu od 6.99 eu imas gomilu starih, kultnih tv serija. Naravno, ima ovih novih koje se pojave cak i pre nego na HBO kanalu da se emituju epizode jedan put nedeljno. Kod HBO nema zezanja, ima prevode za sve sto izadje i postoji na njihovom serveru.

Amazon Prime Video - probao onaj jednomesecni trial. 20% ima prevedenih. Odustao. Ne isplati se placati u za taj servis.

Zakljucak : skoro da sam prestao koristiti torente, piraterisati po pitanju video sadrzaja od kada imam ova dva servisa.

Mora biti bas nesto dobro ( npr. sada ide Fargo , FX produkcija, koje ce se tek kasnije pojaviti na HBO ), ali to je sada vec retko.

Da ne zaboravim, cim se otvorila RTS Planeta, registrovao sam se free i to imam i dan danas. Ima filmova, tv serija, nekih priloga, dokumentaraca, kao i uzivo Radio Bgd 2.

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Još gore će da bude ako bioskopi u USA bankrotiraju....u tom slučaju i studija koja prave velike visokobudžetne filmove za IMAX mogu da vrisnu....odnosno da ih kupi Netflix ili HBO....

Preko tih servisa nema velike zarade - odnosno ne možeš po naslovu inkasiraš 800 mil $ - pa se ne isplati ni snimati film za 200 mil $-  ato znači zdravo Star Wars - DC , Marvel i ostalo....

e da... Avatar 2, 3... je puko ko buksna ako se bude prikazivao preko TV ili striming :smesna:

 

https://www.ft.com/content/656d7a3e-2aab-48b1-8950-0473fa06acc6

Screenshot 2020-10-11 at 15.35.53.png

ode ima sve opširno...

 

 

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On 10/6/2020 at 11:54 PM, Mikorist said:

 

čovek je POTPUNO u pravu......razne DIne su snimane ali nijedna nije imala sreće,,,,izgleda ni ova sad...

Mozda nadjes neki interesantan podatak a da nisi znao...

https://www.bbc.com/serbian/lat/svet-54486439?xtor=CS3-33-[wsserbian~C~A41B41C48D37E38F39G38ad2duna~smpduna]-[Facebook]-[23846421160570587]-[23846421160590587]

 

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