Return of the Idiot

Direction by Saša Gedeon

The script of the „ RETURN OF THE IDIOT “ offers several levels of explanation and any realisation approach, any choice of a formal conception, should  be subject to this fact.

The story which Idiot leads us through and later in which he himself participates more and more – to a bitter sum – is in essence a banal one and can be well understood as a mere record of „ RETURN OF THE IDIOT “ . This short time stretch is however bulged with situations which unveil other characters profiles and retains a reality of relationships in the world Idiot faces.

This world is thus of a double form – a realistic one in a psychological revelation of objectively beheld relationships and an introspective one which is stylised and conditioned by Idiot´s point of view.

In this way our story aims to glimpse the world through an Idiot´s  eyes and to capture the reality of common explanations and stereotypes which we usually use to measure the world.

In his attitude, in his dreams and his purity Idiot bears a poetic, magic quality, which in connection with the preceding, forms a magi-poetic realism of a sort, a punchy rawness elevated to a metaphor.  Our story can thus be read as a realistic narration, and as Idiot´s dream at the same time,  a way of returning, of coming back which could only have unravelled in his head.

That is also why the space of the movie narration has to strike as being able to make it on its own.  Streets, a station, flats and public interiors have to seem as a soliloquist world, however, this cannot be done to the detriment of realistic aspects of the captured reality.

The omnipresent white snow unifies all exteriors, the white colour evokes simple purity.  Clearance of the space and a suppressed contrasting colour scheme are characteristic of a clean-cut  background and actors. Colours intensify right to the point of the New Year´s Eve party when the Idiot is completely drawn into the plot and there are colourful fireworks exploding in the sky.  All of that is real and at the same time it introduces a visionary position, a sketch „on white background“.

The recorded world is divided into warm and cold which underlines Idiot´s loneliness and relegation to the hospitality of his relatives and people in general. All characters search for the warmth of a relationship, Idiot most of all – however, he is the only one not to go to face the world with his ego for he has none. He is really at home in the frost, whereas everyone else has at least some refuge.

A magic position is not achieved by the brutality of pictures or dramatic expression.  On the contrary – the stage is very tight, true and as authentic as possible, connotations arch in the background, behind the front line of the story.  The communication of conveyance is therefore completed by the atmosphere of the film which is at least as significant as the story itself.