Realização:
Alice NellisArgumento:
Alice NellisCâmara:
Matěj CibulkaMúsica:
Jan PonocnýElenco:
Ivana Chýlková, Vojtěch Kotek, Zuzana Bydžovská, Zuzana Kronerová, Ondřej Sokol, Bohumil Klepl, Jan Vondráček, Vladimír Škultéty, Jiří Zeman, Martha Issová (mais)Sinopses(1)
"I don't get how I can be forty-five next year, when I still don't know what I want to do when I grow up!" The story begins with Erica's forty-fourth birthday where she fails to receive the biggest bouquet of flowers she can imagine, but she does get a nice good wish card from her ex-sister-in-law, an embarrassing message in a radio show from her ex-husband, cream for wrinkles from her gay friend Richard and a striptease artiste from her unfathomable mother. She places the good wish card on show and, even if she curses herself for it, she is moved to tears, and the present in the shape of the striptease-artiste is immediately bagged by Richard. Thus appears the successful life of Erica Miller, the star of the programme 'Before and After'. Erica has almost everything - her own TV programme, a renowned hairdressing salon, a large flat with a terrace, and freedom. But with each year that goes past she yearns more and more for the one thing she does not have - a child. And that is how our film starts... (texto oficial do distribuidor)
(mais)Críticas (3)
In "Perfect Days," I have one basic problem - I saw it first in the theater. Not directed by Alice Nellis with Zuzana Bydžovská in the main role, but in South Bohemian Theater, where the main role was played by Věra Hlaváčková, which probably doesn't mean much to you, but I can comfortably say that I enjoyed the performance very much because the acting performances were excellent. Moreover, stories just look better in the theater, especially if they are primarily intended for the theater. I had a similar feeling, for example, with "Carnage," which was not bad in Polanski's version, but it still felt like a play transferred to the screen, where theatrical elements were suppressed in terms of smaller gestures, although even in this case it wasn't a big difference. The original play was good, the film was also good. In the case of "Perfect Days," it is not completely true. The story did not successfully transfer to the screen in a way that it remained equally funny. However, it is not because Chýlková or Sokol played poorly, on the contrary, they are excellent, especially when compared to the annoying Klepl. Kotek is on the edge between being despised or liked. With the new haircut that the main character creates for him, he looks more sympathetic than the entire Sokol. The problem with the film is that it is a bit stretched and because of that, it doesn't manage to escalate the jokes in a way that they truly sound humorous. You will smile, but you won't roll on the floor laughing. Nevertheless, it is a good adaptation of the play to the screen, which certainly won't offend. Moreover, the theme is very relevant, especially for women. More: http://www.filmovy-denik.cz/2012/08/warrior-x-ms-1-sibir-5x-rychle-zbesile.html
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It seems that Alice Nellis gave up on her ambition to make “great art” and started putting lipstick on pigs. Perfect Days is a dolled-up swine in its seriously intended use of advertising (or television) aesthetics, feigned worldliness and unwillingness to show at least a bit of the ugliness that the make-up conceals. Bad things happen mainly to the obviously socially weaker supporting characters, and the protagonist just doesn’t know who she wants to be. Any more serious scene is immediately pushed aside by infantile humour and a pop song. One lives for material things and physical pleasure. The theatrical division into acts draws attention to the origins of the source work and underscores the idea of life as a nonstop party (birthday, Christmas, New Year’s, Valentine’s Day, birthday, Mother’s Day, birthday). The main thing is to enjoy it. As in many other romantic comedies, it is better not to talk about “unheimlich” things here (the dispositive of sexuality is, in the better case, from fifty years ago). The senseless tabooization of certain topics, resulting in the inability to speak on the level to the characters, complicates life and draws out the plot, which at most is sufficient for a single episode of a television series. No one acts like an adult, without hysterics and grimacing, and if anyone in the director’s world has the right to be taken seriously, it is not men. One of them is an insensitive boor, the protagonist remakes another guy in her own image during a humiliating procedure (from a hipster to a metrosexual) and the third one is gay, fulfilling the role of a gossip buddy (with the added feature that he can also serve as a sperm donor). Nellis is basically more interested only in Erika, who I suppose has the most in common with her. She reduces the other characters to comedic pawns or personified warnings of where the protagonist might end up in her submissive fulfilment of her expected role as a mother/housewife. There are films that give us the possibility of escaping to a rosier world for two hours, and then there are films like Perfect Days, which drag us into that world and try to persuade us for two hours that this way and this way alone is OK. No, it’s not. 35%
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Alice Nellis is one of the most distinctive directors of contemporary Czech cinema, and she is needed very much in the Czech Republic. The fact that she is not afraid to make quality contemporary female films is a miracle. Little Girl Blue with Iva Bittová was a minor miracle, while Perfect Days is a bit more conformist but all the more assured. Ivana Chýlková repeatedly does a service to Czech cinema through her leading roles, which work without the slightest hesitation, and without having to borrow any mannerisms to capture the current civility. I'm pleasantly surprised that in this constellation Nellis managed to conciliate all the main (the story of a woman between the ages of 44 and 45) and secondary themes (her gay boyfriend, her unhealthy fixation on her mother, the question of single motherhood and her young lover) without being unnecessarily awkward.
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