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nathansnook

In the Presence of a Clown

๐˜ ๐˜ฐ๐˜ถ ๐˜ค๐˜ข๐˜ฏโ€™๐˜ต ๐˜ต๐˜ฆ๐˜ญ๐˜ญ ๐˜ญ๐˜ช๐˜ง๐˜ฆโ€™๐˜ด ๐˜ค๐˜ข๐˜ต๐˜ข๐˜ด๐˜ต๐˜ณ๐˜ฐ๐˜ฑ๐˜ฉ๐˜ฆ๐˜ด ๐˜ต๐˜ฐ ๐˜จ๐˜ฐ ๐˜ข๐˜ธ๐˜ข๐˜บ. ๐˜ˆ๐˜ญ๐˜ญ ๐˜ฆ๐˜ฎ๐˜ฐ๐˜ต๐˜ช๐˜ฐ๐˜ฏ ๐˜ฉ๐˜ฆ๐˜ณ๐˜ฆ, ๐˜ข ๐˜ฑ๐˜ข๐˜ด๐˜ด๐˜ช๐˜ฐ๐˜ฏ ๐˜ต๐˜ฉ๐˜ฆ๐˜ณ๐˜ฆ, ๐˜ข ๐˜ฉ๐˜ฐ๐˜ด๐˜ฑ๐˜ช๐˜ต๐˜ข๐˜ญ, ๐˜ฎ๐˜ฆ๐˜ฅ๐˜ช๐˜ค๐˜ข๐˜ฎ๐˜ฆ๐˜ฏ๐˜ต๐˜ด, ๐˜ฑ๐˜ณ๐˜ฐ๐˜ฎ๐˜ช๐˜ด๐˜ฆ๐˜ด, ๐˜ฅ๐˜ฆ๐˜ข๐˜ต๐˜ฉ. ๐˜๐˜ณ๐˜ช๐˜ฆ๐˜ฏ๐˜ฅ๐˜ญ๐˜บ ๐˜ณ๐˜ฆ๐˜ญ๐˜ข๐˜ต๐˜ช๐˜ฐ๐˜ฏ๐˜ด, ๐˜ด๐˜ฐ๐˜ญ๐˜ช๐˜ค๐˜ช๐˜ต๐˜ถ๐˜ฅ๐˜ฆ, ๐˜ฅ๐˜ช๐˜ด๐˜ค๐˜ช๐˜ฑ๐˜ญ๐˜ช๐˜ฏ๐˜ฆ. ๐˜“๐˜ฐ๐˜ท๐˜ฆ, ๐˜ช๐˜ง ๐˜บ๐˜ฐ๐˜ถ ๐˜ธ๐˜ข๐˜ฏ๐˜ต. ๐˜ˆ๐˜ญ๐˜ญ ๐˜ต๐˜ฉ๐˜ฐ๐˜ด๐˜ฆ ๐˜ข๐˜ณ๐˜ฆ ๐˜ค๐˜ฉ๐˜ข๐˜ฏ๐˜ค๐˜ฆ ๐˜ค๐˜ช๐˜ณ๐˜ค๐˜ถ๐˜ฎ๐˜ด๐˜ต๐˜ข๐˜ฏ๐˜ค๐˜ฆ๐˜ด, ๐˜ต๐˜ฉ๐˜ช๐˜ฏ ๐˜ต๐˜ฉ๐˜ณ๐˜ฆ๐˜ข๐˜ฅ๐˜ด. A complicated mess of the usual Bergman stuff that goes on for too long in this TV film. I think the set up takes too long and Bergman really should've given it to us first, hard and fast, with the anal clown sex. Everything after is a look at theater, cinema, and the meaning of life. ๐˜ ๐˜ฐ๐˜ถโ€™๐˜ท๐˜ฆ ๐˜ฅ๐˜ฐ๐˜ฏ๐˜ฆ ๐˜บ๐˜ฐ๐˜ถ๐˜ณ ๐˜ง๐˜ณ๐˜ช๐˜ฆ๐˜ฏ๐˜ฅ ๐˜ต๐˜ฉ๐˜ฆ ๐˜จ๐˜ณ๐˜ฆ๐˜ข๐˜ต๐˜ฆ๐˜ด๐˜ต ๐˜ฐ๐˜ง ๐˜ง๐˜ข๐˜ท๐˜ฐ๐˜ณ๐˜ด. ๐˜ ๐˜ฐ๐˜ถ ๐˜ต๐˜ฐ๐˜ญ๐˜ฅ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ต๐˜ณ๐˜ถ๐˜ต๐˜ฉ. Something occurs that creates interesting blocking and a play-on with film and theater, but I lost interest because it felt incredibly underproduced. The shots. The colors. All was missing! But you come to a conclusion that as much as your death doesnโ€™t matter, neither does your life. Everyone leaves in a rush. With very little to say. A criticism. A praise. But nothing else. No matter how big you see the victory or how immense the loss is, none of it matters. You will die alone. Even as our main protagonist lies in bed with a woman on top of him, he drifts and drifts alone.

10d ago