Jean-Paul Marat'n vaino ja murha

I don't really like those school lessons, but there's a phrase that says it's "more fun to read about / discuss / or learn about a film than to watch it." That certainly applies to Marat/Sade. It is an annoyance that is spectacular and irritating, not in form and actual appeal and parallel to today. CineFest 2018, echoes. (28.05.2018)

Theatrum mundi speaking from behind iron bars, the disturbing force of ideas and actions of characters who, with their consistent uncompromising nature, always shake the world of half-hearted conformists who try to lock them up in asylums or history. One can focus on the expressed difference between the central pair, but it is more interesting to seek their unspoken identities - their dual hatred and submission to nature, nature understood through the eyes of the 18th century, in which the laws and natural rights were supposed to be found, on which every future free and happy world was supposed to stand. Sade is the one who hates nature for its indifferent omnipotence, and precisely because of its power, before which there is no escape, he submits to it in search of its greatest certainty: the pleasure of the body. Conversely, Marat, who decided to implement the laws of natural equality and freedom even by using violence and means that contradict the asceticism, strictness, and austerity that deny nature itself - he thus tries to escape nature in order to confirm it: in both cases, nature and its destructive force triumph over the immobility of the world on the "right" side of the bars, which doesn't even realize its own bars in life, society, and politics. /// I don't know what some viewers expect from a filmed theater performance, but here the script of the play and the performances of the actors are excellent, and the film is also complemented by a high-quality camera, giving it a cinematographic value that cannot be achieved in the theater. (11.09.2015)