Sve romantične komedije govore o ljubavi, ali retke su one koje predstavljaju antropološku studiju o njoj.
Kada ljudi postanu roba, a ljubav biznis, stvara se tržište na kom nastupaju profesionalne provodadžije, poput brokera na berzi. U doba neoliberalnog kapitalizma, kada je novac merilo svega, „slobodan” je onaj koji ima najviše novca, ne shvatajući da zapravo on najviše robuje tom istom novcu. Tako i glavna junakinja, kao najuspešnija posrednica u agenciji za spajanje parova, robuje svojim klijentima, smatrajući da je jedini uspeh ako „dobro” uda svoju klijentkinju.
„Jednorog” je naziv za privatni startap čija se procenjena vrednost kreće iznad milijardu dolara (ili evra) pre nego što izađe na berzu. Međutim, u poslu provodadžisanja, „jednorog” je onaj muškarac koji zarađuje više od 500.000 dolara godišnje, ima svoj biznis (pasivni prihod) i nekoliko nekretnina; lep je, zgodan, učtiv i obrazovan, i na kraju – možda i najbitnije – viši je od 180 centimetara (pa posle filma recite da žene nisu opterećene veličinom?!?). Kada provodadžijka naleti na jednog takvog „jednoroga”, postavlja sebi nimalo jednostavno pitanje: da li ga prisvojiti za sebe ili ga prepustiti klijentkinjama?
Iako film po posteru i sinopsisu deluje kao klasična romantična komedija o ljubavnom trouglu (ne kažem da to i nije) u kom devojka bira između bogatog princa i siromaha u kog je zaljubljena (jer, kako bi to rekao Viktor Peljevin u svom romanu „Empire V”: u čoveku su dve polovine mozga – jedna za diskurs, a druga za glamur), ukoliko se zagrebe samo malo dublje, već tokom prve polovine filma shvatićemo da je on zapravo antropološko razmatranje današnjih veza, brakova i poimanja ljubavi. Priča postavlja jedno prosto pitanje: da li se od pećinskog čoveka do danas išta promenilo u ljudskom poimanju zajednice muškarca i žene, iako smo razvojno znatno napredovali u odnosu na naše pretke iz pećine?
All romantic comedies are about love, but rare are those that serve as an anthropological study of it.
When people become commodities and love becomes a business, a market emerges where professional matchmakers step in, much like stockbrokers. In the era of neoliberal capitalism, when money is the measure of all things, the „free“ person is the one with the most money, not realizing that they are actually the biggest slave to that very money. Likewise, the main character, as the most successful matchmaker in a dating agency, is a slave to her clients, considering it a success only if she marries her client off „well“.
A „unicorn“ is the term for a private startup with an estimated value of over a billion dollars (or euros) before it goes public on the stock market. However, in the matchmaking business, a „unicorn“ is a man who earns more than $500,000 a year, has his own business (passive income) and several properties; he is handsome, attractive, polite, and educated, and finally – perhaps most importantly – he is taller than 180 centimeters (so after the movie, tell me women aren’t obsessed with size?!?). When the matchmaker stumbles upon one such „unicorn“, she asks herself a far-from-simple question: should she claim him for herself or leave him to her clients?
Although the film, judging by its poster and synopsis, seems like a classic romantic comedy about a love triangle (I am not saying it isn’t) in which a girl has to choose between a rich prince and a poor man she is in love with (because, as Victor Pelevin would put it in his novel Empire V: a human brain has two halves – one for discourse, and the other for glamour), if you scratch just a little beneath the surface, by the first half of the film we realize that it is actually an anthropological exploration of modern-day relationships, marriages, and the concept of love. The story asks a simple question: has anything changed from the caveman to the present day in the human understanding of the union between a man and a woman, even though we have evolved significantly compared to our cave-dwelling ancestors?
