and Vizualni esej: Filmske podobe dreves #1 | Revija Ekran

Vizualni esej: Filmske podobe dreves #1

and | 28. 12. 2017. | Ekran na ekranu, Esej

Epizoda 1: Emmanuel Lubezki

Drevesa so bila tu že dolgo pred nami. Svoje kompleksne načine preživetja so razvijala skozi več kot dvesto milijonov let. Poznamo več kot šestdeset tisoč vrst dreves. Nekatera med njimi v ugodnih okoliščinah lahko živijo več tisoč let. Gozdovi so bili še do nedavnega naši najtesnejši evolucijski partnerji. Dajali so nam zavetje in zaščito, gradbeni material, gorivo, zdravila, hrano in senco. Podobe dreves so vtkane v naše mite in simbole, so del naših legend in vir umetniškega navdiha. Naša povezanost z drevesi, občudovanje in spoštovanje teh veličastnih bitij, ima globoke korenine.

Za prvi »portret« realnega drevesa v zahodni umetnosti velja skica starodavnega hrasta, An ancient Oak, Jamesa Warda, ki je bila najverjetneje naslikana nekje na začetku 19. stoletja, slabih 100 let preden so svet osvojile prve filmske podobe. V sodobnem filmu je najbolj prepoznavne podobe dreves ustvaril mehiški direktor fotografije Emmanuel Lubezki, ki se je širši svetovni javnosti predstavil s filmom Brezglavi jezdec (Sleepy Hollow, 1996), v katerem je pomagal oživiti temačen gotski svet Tima Burtona.

Odnos do narave in posledično tudi stil snemanja Emmanuela Lubezkega je v največji meri definiralo njegovo prvo srečanje s Terencem Malickom, s katerim sta sodelovala pri filmu Novi svet (The New World, 2005), kasneje pa posnela verjetno enega najlepših filmov vseh časov, Drevo življenja (The Tree of Life, 2011). Njegovi trademarki: uporaba naravne svetlobe za snemanje, dolgi kadri, široki plani, neverjeten občutek za gibanje in dokumentaristični filmski jezik do izraza najlepše pridejo v filmu Povratnik (The Revenant, 2015), za katerega je po filmih Gravitacija (Gravity, 2013) in Birdman ali Nepričakovana odlika nevednosti (Birdman or The Unexpected Virtue of Ignorance, 2014) prejel že tretjega zaporednega oskarja.

Novi svet, Drevo življenja in Povratnik so filmi, v katerih narava (od)igra pomembno vlogo. Lubezkemu v omenjenih filmih v podobe uspe do popolnosti ujeti kompleksnost človekovega razmerja in povezanosti z naravo. Ko njegova kamera počasi, potrpežljivo in previdno vstopa v gozd, brez pomisleka sledimo njenemu spoštljivemu pogledu. Prepustimo se sončni svetlobi, ki prodira skozi krošnje dreves, in nežnemu vetru, občutkom, ki nas transcendirajo prek (o)mej(itev) prostora in časa.

Episode 1: Emmanuel Lubezki

Trees were here long before us. They have evolved and adapted over the last twenty million years. There are more than sixty thousand different species of trees and many of them, if circumstances allow it, can live for several millenniums. Woods have always been a big part of human experience and evolution – knowing trees has been our first survival kit. They have given us shelter and protection, material, fuel, medicine, food and shade. Tree images are deeply embedded in our myths and symbols, they dazzle our imagination and are an inspiration for the artists. The roots of our connection with trees, admiration and respect for these marvellous ancient creatures run deep.

An Ancient Oak, a watercolour sketch painted by James Ward in the beginning of 19th century, a hundred years before first moving images took over the world, is known to be the first portrait of a real tree in the Western art tradition. When we think about images of trees in modern cinema one name stands out tall, and that name is Emmanuel Lubezki. Mexican cinematographer first got his wide recognition working on Sleepy Hollow (1996), where he boldly brought Burton’s love for all things Gothic to the big screen.

Lubezki’s relationship towards nature, and by extension his working style, were crucially shaped by his first encounter with director Terence Malick, with whom he collaborated on The New World (2005). Later, they also made possibly the most gorgeous looking film of all time – The Tree of Life (2011). His trademarks, use of natural light, long takes, wide shots, calmness of the camera movement and documentary film language all come together in The Revenant (2015), a film for which he – after Gravity (2013) and Birdman or The Unexpected Virtue of Ignorance (2014) – was awarded his third consecutive Oscar.

The New World, The Tree of Life and The Revenant are all films in which nature plays a pivotal role. Lubezki manages to catch the complexity of human relationship and experience with the natural world in utter perfection. As the camera slowly, patiently and cautiously enters the woods, we follow its reverent gaze – no questions asked. We lean back and experience the warmth of sunshine penetrating through the treetops and the delight of gentle breeze that transcend us beyond the limitations of space and time.

Povratnik