milosxlazic

When I saw the title, I knew that after I watched it I would certainly have a much stronger desire to visit Iceland, and now even in hopefully the same scenario. The plot is so alluring, it's something I could've caught myself thinking about in the past a lot. And of course, I would love the outcome of my struggle to be different, but at the same time, who am I to judge these two people for their choices.

Similar to the movie "Rester vertical" (2016), this one, as expected, abounds in picturesque photography that only makes so much more enjoyable the in the same way reduced a plot. So, what we have is beautiful photographic reduction and also reduction on the level of a plot, which doesn't provide too many fluctuations during the film, but rather allows for a lot of meditative contemplation: what would I do if I was put in the same situation, the most basic question I would ask myself. There's slight mood shifts and perhaps one change of course that introduces the mysterious and magical to the plot and also to the symbolism of photography, as if the film already didn't abound in these.

I can imagine many might have been stressed out by the ending of the movie because of their failure to identify with the characters' deeds, but I'm very happy that in the end, story wise it is not terminal. Throughout the credits, you can see one characters contemplating face, further wondering about the possibilities he has left on his hands to continue pursuing his creative goals. The only question is where will one find motivation for anything one does, actually whether motivation comes from within or from outside of us and so on. It's only very imaginative and enriching experience the film.

"They say that Gods' one and only voice is silence. He just must have more to say these days."

I guess the reason it's so easy to divinate Deadpool is that his self- destruction, the normal humans' death-drive alike (as explained by psychoanalysis) actually drives him toward greatness, immortality even - this is what we're often driven to believe in our lives as well (besides immortality, guys, I hope no one is so naive).

Only when reality kicks in, we tend to stop, regain control, get back to our terms, realize that these self-destructive processes we put ourselves through as coping mechanisms might actually lead to perishing of our existence. On the most basic level, who doesn't like to get trashed of alcohol on a Saturday night for that matter?

This is where Deadpools' humor kicks in as another tool of success for this impeccable story, to help us cope with the inabilities that we face and fail to overcome, especially psychologically. Well not exactly the same inabilities, but hey, Deadpool might be immortal now but his face's ugly as life that he now has to live forever, so we ain't the only ones with problems.

Very captivating film without this pretentious effort of other superhero movies, but still full of glittery artifice and shinny CGI. No wonder a lot of people might be hardly waiting for the second part, and who knows how many more.

Throughout the film, the self-destructive behavior of young punks playing the leading roles doesn't have a purpose or a goal as making a cool video clips or proving themselves to each other, but rather is a manifestation of the ongoing deprivation and failure to identify one-selves within the systems in which they are raised. The reason to this self-destruction becomes obvious upon later moments in the film, when their lives collide with an actual system.

The protests organized besides the main plot at the beginning may seem as an aesthetic addition to the dystopian atmosphere, while afterwards it becomes clear that the protests of their parents very logically intermingle their self-destructive behavior, even though none of the two might realize the connection.

The catharsic moment for me was entrance to the supermarket of a crew of skateboarders that accidentally found themselves in a passing-by protest, randomly knocking over things from the shelves, seemingly goalleslly destroying and consuming all found in their ways. This is obviously to symbolize the opposition towards the way the system is heading trying to organize and make orderly their lives, which outside the supermarket, or the employment bureau for that matter, are nothing like the capitalistic comfort these institutions promise.

The following scene happens in a room that has a dead-end street sign on the wall, an eye-candy additional to the preceeding scene, where the conversation is held between the friends, out of which one stole some oranges from the store being trashed, the act that the other denoted as unnecessary. The act of trashing the supermarket thus wasn't the act aiming to make any real damage to the actual store owner or chain, but it was rather a symbolic act against the seemingly orderly system that is being imposed, but failing to provide anything that would even cover over the initial lack. To prove his point, one of the two leaves the room and crashes the car of a friend who opposed the first at being so harsh against stealing the oranges.

To make a conclusion, all the acts in the film might seem completely disorderly, random, chaotic and very lifelike, but if one starts identifying and analyzing rather than enjoying the images for themselves, one might also realize the majestic connections and artistically great comments on societal, economical and financial situation among youth in a transitional country like Serbia, and the way the current situation might affect their lives and development.