Eleştirmen yorumları

Ambitious in intention and making strong use of its memorable locations, "Heroes" nonetheless comes across as a pretentious attempt to place personal traumas within the greater scope of historical ones. The lead character is meant to carry the narrative, but he can be so irritating at times that his journey is hardly moving, even if Rapin does a decent job of making it seem somewhat believable.

A comedic, fantastical ghost story turns into a humanising, occasionally difficult tale of what it means to document one’s life in the face of imminent loss, which leaves the protagonists... emerge from their film humbled, aware of their own smallness. It’s this realisation that lifts up both films – Alice’s road trip-documentary-turned-archival-document, and Rapin’s bold and ambitious feature.

“Heroes Don’t Die” is nothing if not novel, passing its elaborate concept through a range of genre possibilities — from droll road movie to post-war trauma study to metaphysical ghost story — without settling on one in the course of 85 minutes. Yet this amount of fussing over its final form means the film’s own characters never quite come into focus, making it hard to invest much belief in their wilfully absurd meta-movie.

Lively and clearly a labour of love, Rapin’s film requires a considerable leap of faith from viewers, which it doesn’t altogether reward in dramatic terms... [the] tonal imbalance, between goofy facetiousness and absolute earnestness, makes the film an unfocused watch, and as a travelogue unveiling Bosnia’s relation to its war-torn past, it doesn’t reveal that much that we haven’t seen in countless films before, either from the Balkans or elsewhere.

[A] rather odd duck, mixing perspectives and paralleling dualities of life and death, love and friendship, war and peace, imaginary and reality. More an essay on commemoration than an emotional reclamation of unfulfilled lives cut short, Rapin explores the difficulty in interpreting a present divorced from the distant ghosts of the past or the unforeseeable inevitability of the future.

This is a moody, enigmatic drama touched by eternal sadness, and Haenel keeps it all together as the deus ex machina of this experiment in poetry, essay and history lesson all rolled in to one. In the end, the audience has to decide if re-incarnation is simple a device for escaping from our sins