[vc_row][vc_column width=”1\/2″][vc_column_text]<\/p>\n

Termin: 17 lipca \/ godzina: 19:00<\/strong><\/p>\n

Miejsce: Dom Ludowy<\/strong><\/p>\n

Bilety: 15 z\u0142<\/strong><\/p>\n

Kalendarz<\/a>\u00a0Program<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]<\/p>\n

Fanny i Aleksander \/ <\/b>Fanny och Alexander \/ Fanny and Alexander<\/i><\/b><\/p>\n

Szwecja, Francja, Niemcy Zachodnie 1982,\u00a0<\/span>188′<\/span><\/p>\n

 <\/p>\n

re\u017cyseria: <\/b>Ingmar Bergman<\/span><\/p>\n

scenariusz: <\/b>Ingmar Bergman<\/span><\/p>\n

zdj\u0119cia:<\/b> Sven Nykvist<\/span><\/p>\n

monta\u017c: <\/b>Sylvia Ingemarsson<\/span><\/p>\n

muzyka: <\/b>Daniel Bell<\/span><\/p>\n

obsada: <\/b>Bertil Guve, Ewa Fr\u00f6ling, Pernilla Allwin, Allan Edwall, Jarl Kulle, Jan Malmsj\u00f6<\/span><\/p>\n

producent: <\/b>J\u00f6rn Donner, Daniel Toscan du Plantier, Renzo Rossellini<\/span><\/p>\n

produkcja:<\/b> Cinematograph AB, Svenska Filminstitutet, Gaumont, Personafilm, SVT Drama, Tobis<\/span><\/p>\n

nagrody:<\/b> Oscary 1984 \u2013 najlepsze zdj\u0119cia, scenografia, kostiumy, najlepszy film nieangloj\u0119zyczny; Z\u0142ote Globy 1984 \u2013 najlepszy film zagraniczny<\/span><\/p>\n

 <\/p>\n

Je\u015bli kto\u015b uzna <\/span>Fanny i Aleksandra<\/span><\/i> za opus magnum Ingmara Bergmana, to bynajmniej nie pope\u0142ni kinofilskiej herezji. To bez w\u0105tpienia wa\u017cny utw\u00f3r w dorobku szwedzkiego mistrza: epicki w rozmiarach i ambicjach, pe\u0142en autobiograficznych odniesie\u0144, zaplanowany jako zwie\u0144czenie kariery re\u017cysera filmowego. Jego akcja jest osadzona na pocz\u0105tku XX wieku i obraca si\u0119 wok\u00f3\u0142 zamo\u017cnej familii Ekdahl\u00f3w, a w szczeg\u00f3lno\u015bci tr\u00f3jki jej cz\u0142onk\u00f3w: tytu\u0142owego rodze\u0144stwa i ich matki Emilie. Po \u015bmierci m\u0119\u017ca Emilie wychodzi za du\u017co starszego od siebie duchownego, co prawdopodobnie jest jednym z najwi\u0119kszych b\u0142\u0119d\u00f3w w jej \u017cyciu, gdy\u017c ten elokwentny m\u0119\u017cczyzna odznacza si\u0119 empati\u0105 i manierami inkwizytora. W maj\u0105cej niespieszny, miarowy rytm opowie\u015bci komizm przeplata si\u0119 z tragizmem, a kontrapunktem dla realistycznych scen s\u0105 pojedyncze fantastyczne fragmenty, w kt\u00f3rych dochodzi do g\u0142osu wyobra\u017ania m\u0142odego Aleksandra.<\/span><\/p>\n

[\/vc_column_text][vc_column_text]<\/a>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>","excerpt":"

Je\u015bli kto\u015b uzna Fanny i Aleksandra za opus magnum Ingmara Bergmana, to bynajmniej nie pope\u0142ni kinofilskiej herezji. To bez w\u0105tpienia wa\u017cny utw\u00f3r w dorobku szwedzkiego mistrza: epicki w rozmiarach i ambicjach, pe\u0142en autobiograficznych odniesie\u0144, zaplanowany jako zwie\u0144czenie kariery re\u017cysera filmowego. 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