Night and Day (Noscht i djen)
Γερμανικά Τίτλος: Nosht i djen (Nacht und Tag)
Γαλλικά Τίτλος: Nuit et jour
Ισπανικά Τίτλος: Noche y día
Ρωσική τίτλος: Нощ и ден (Ночь и день)
Πρωτότυπος τίτλος: Nosht i den
Γαλλικά Τίτλος: Nuit et jour
Ισπανικά Τίτλος: Noche y día
Ρωσική τίτλος: Нощ и ден (Ночь и день)
Πρωτότυπος τίτλος: Nosht i den
Παραλλαγές εναλλακτικών τίτλων:
Night & Day / Ночь и день
Night & Day / Ночь и день
Drama – Bulgarien
Έτος παραγωγής: 2006
Διάρκεια: 115 λεπτά
Έτος παραγωγής: 2006
Διάρκεια: 115 λεπτά
Σκηνοθεσία: Красимир Крумов (Krassimir Krumow, Krasimir Krumov, Krassimir Kroumov)
Υπόθεση:
This is a mountain story. Marko is 12 years and he is enraptured by his boundless childish fantasies and games. He has to grow into man quickly. After a savage turn of fate the skills and advice he had ignored until today will come into use to help him save his mother. He is alone in the mountains and he has to overcome mistrust and difficulties and those who help him have to overcome their own prejudice. Marko hopes to reach the distant village where his mother may find salvation. The road is very long ...
Twelve-year-old Marko lives in a remote Bul-garian village, a village suffering from poverty and some Christian-Muslim tensions, but nothing that a high-spirited young boy with a lively imagination can’t see past. When Marko’s father takes leave of the family for a travelling building job, it falls to his mother to run the family farm. After some village ruffians brutalize his mother, the two seek refuge in the home of the village hodja, or holy man, Hyusni. Here Marko begins to learn more about the long-running problems plaguing his village, including Hyusni’s own role in perpetuating them.
Writer-director Krasimir Krumov’s film is reminiscent of Iranian neorealism in its choice of protagonist, the allegorical dimensions of village life standing in for a larger historical canvas, and use of poetic landscape compositions.
Twelve-year-old Marko lives in a remote Bul-garian village, a village suffering from poverty and some Christian-Muslim tensions, but nothing that a high-spirited young boy with a lively imagination can’t see past. When Marko’s father takes leave of the family for a travelling building job, it falls to his mother to run the family farm. After some village ruffians brutalize his mother, the two seek refuge in the home of the village hodja, or holy man, Hyusni. Here Marko begins to learn more about the long-running problems plaguing his village, including Hyusni’s own role in perpetuating them.
Writer-director Krasimir Krumov’s film is reminiscent of Iranian neorealism in its choice of protagonist, the allegorical dimensions of village life standing in for a larger historical canvas, and use of poetic landscape compositions.
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