Instead, you have a fragile, naïve boy trapped between his love and lust for The Serpent Girl, and his mother, who just wants to protect him,” he says. “It’s a bit unusual because there is no strong, powerful male character. He found it in “Stribor’s Forest”: a Croatian fairy tale that’s well known in the region. His monologues end when we enter this fantasy world,” says Kasalica, admitting he was looking for an “organic connection” when creating the second part of the film. Instead, he just voices all these opinions, convinced he is the center of the universe. “Filip avoids talking about serious subjects. But once he travels to an old mountain house, things get a bit murky and even his deceased mother decides to return. She knows exactly what she is doing,” he says.įilip, on the other hand, hides behind lengthy monologues and a sense of self-righteousness. It was important not to show her as fragile, to show her strong. She is just observing him, making sure she is making the right decision. “This relationship is done everything has already been said.
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