Frieda Liappa said about her film: “Starting point was an article in the newspaper about the double suicide of two sisters in the thirties…” Like the Papen sisters, who are the primary examples for Lacan in his theory of paranoid psychosis, the sisters in the film are bonded with pathological love to the point of ultimate identification. In urbanising Athens of the early eighties they live cut off from the past. A cousin from Paris visits them and a chain of events breaks their identification. Liappa with a poetic but also very realistic way manages to move on the border of blind desire and cruel reality. —Greek Film Archive
Born in Messene in Peloponese in 1948, Frieda Liappa studied literature at the Athens University. Because of her involvement in the movement against the military dictatorship she was forced to give up her studies. In 1972 she directs her first short film Forty Days After, a production of the cinema review Sigxronos Kinimatografos (Contemporary Cinema). Spending some months in jail, and after succeeding to get a passport, she decided to settle in London where she attended the London Film School. To her return in Greece, she became a member of the Contemporary Cinema editorial team and published articles in different film magazines. She has also published three collections of poetry and one collection of short stories. She has also directed documentaries for the television and particularly for the Backstage series. Frieda Liappa directed three short films and three feature films, all of them awarded in National and International Film Festivals. She also directed a TV film. Considered… read more
The new pic is pitch-perfect and does full justice to the marvelous desire this film exhales. It will always remain one of my favorite Greek films of all time and it's one of the major reasons I started being attracted to cinematic ladies of splendid grandeur. Mirka's role as the cunning Stella is just so erotic, dirty, screaming for lust that I still recall her subtle expressions against her sister's numbness.
This is essentially a superb piece of debut by a highly underrated director, Frieda Liappa and at the same time Mirka Papakonstantinou's best role. I dedicate this to all lovers out there, male and female where their boundaries cease to exist, as if a car ride, a bedroom, a lost passion don't belong in time's compression. As if night and day are but demons of the urban "outback", deliberately molesting both sexes.