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Zdeněk Jirásky salva el hueco entre generaciones con I Don't Love You Anymore

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- El director checo vuelve al Festival de Varsovia para presentar su último trabajo sobre las fronteras de la rebelión y la libertad anhelada por la generación más joven

Zdeněk Jirásky salva el hueco entre generaciones con I Don't Love You Anymore
Daniel Zeman (izquierda) y Maiša Kollmannová en I Don't Love You Anymore, de Zdeněk Jirásky (© i/o post)

Este artículo está disponible en inglés.

Czech director Zdeněk Jiráský is set to world-premiere his latest feature, I Don't Love You Anymore, in the Warsaw Film Festival's International Competition (6-15 October). This is not Jiráský's first appearance at the festival; he introduced his critically acclaimed debut, Flower Buds [+lee también:
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, there in 2012. Moving away from his recent period drama Kryštof [+lee también:
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, Jiráský now delves into the coming-of-age and road-movie genres with his newest offering.

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I Don't Love You Anymore tracks the journey of two teenagers. Thirteen-year-old Marek develops a deep resentment for his mother's boyfriend and takes to posting audacious videos online. His boldness catches the eye of Tereza, considered by many to be a "model" girl from a good family. Drawn together by a shared desire for rebellion, the two amplify their antics, staging increasingly perilous situations for their videos. Tereza's gutsy proposal to run away from home pushes them further into the realm of danger, leading them to feign a kidnapping scenario with Marek as the perpetrator. After a confrontational call to Tereza's mother, the pair realise there's no turning back. They flee by train, ending up in a squalid apartment block in a Bucharest suburb, resorting to theft for sustenance. But as their euphoric sense of freedom dwindles, they grapple with the harsh realities of solitude, desperation and jarring disillusionment. A story that begins with a mock abduction soon morphs into a poignant journey into the unknown, peppered with train rides and unexpected escapades.

The film boasts a cast featuring Daniel Zeman, Maiša Kollmannová, Anita Krausová (Kryštof), Marian Mitaš (We Have Never Been Modern [+lee también:
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) and Réka Derzsi (The Man with Hare Ears [+lee también:
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). Michal Černý, known for his work on a-B-C-D-e-F-G-H-i-JONESTOWN, served as the director of photography. Jiráský opted for a compact crew to ensure agility and spontaneity, especially as certain scenes hinged on real-time interactions with strangers encountered by the lead characters, portrayed by young non-professionals. Expanding on his approach, Jiráský remarks, “The narrative, centring on two children on a voyage, is anchored in realist traditions. We prioritised creative liberty throughout. The enigmatic nature of adolescence, and their quest for independent thought and autonomy, deeply fascinated me. Given the innate spontaneity of our young actors, improvisation happened frequently. Our primary objective was to capture genuine authenticity and veracity, steering clear of any preachy undertones.”

Slovak producer Silvia Panáková, representing Arina Film Production, emphasised that the film is crafted to resonate with the younger audience, offering a genuine portrayal of adolescence and the generational rifts inherent in today's society. The narrative will leverage contemporary modes of expression prevalent among today's youth and will harness advanced camera technologies. Techniques will include remote audio recording and the principle of “self-filming” through smartphones, encompassing vlogging, selfies and social media, aiming to paint an intimate and vivid tableau of reality. The director stated his aspiration to bridge the generational divide, shedding light on the prevalent feelings of alienation and emptiness that many grapple with, whilst encapsulating the essence of modern-day challenges that stretch beyond the confines of Central Europe.

I Don’t Love You Anymore is being produced by i/o post (Czech Republic), and co-produced by Arina Film Production (Slovakia) and Tangaj Production (Romania). The project has been supported by the Czech Film Fund, the Slovak Audiovisual Fund, the Czech Ústi Region and Sony Europe.

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(Traducción del inglés)

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