A dying architect and his emotionally stunted daughter inhabit the remains of a once booming industrial community in the middle of nowhere, now populated by the precious few who didn’t have the heart to leave it behind.
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If a film has to try this hard to be weird and quirky, it isn't interesting, it's painful. Albeit, good camerawork, and a cool soundtrack, including "Tout les garcons et les filles" by Francoise Hardy. I wish Greek directors would stop trying to make the next "Dogtooth", and promoters would stop referencing it to get us to see crummy wannabes. "Dogtooth" was truly weird and engaging. Attenberg is not.
I understand my body through your body, I understand my life through your death. Strange but confident, conscientiously moving tale about "I". Ariane Labed's physicality is just like uniqueness of "Greek Weird Wave". So superb.
As creatures, ensconced in our own inner worlds, sometimes our orbits align with other terrestrial bodies. And in those moments we become human. Or imbued with the spirit. The protoplasms of life, death, birth, and sex: indistinguishable. Indomitable. And sometimes we form a community, while the universe coolly disdains to destroy us. These hymns found in Farfisa synthesizers, and the psalms of Alan Vega. The sea...
A film about decay; in architecture, in loved ones, in friendships, in relationships. Yet finding some degree of hope and worth in carrying on as well. Tsangari has made a mature, reflective and visually stunning work here at the forefront of new greek cinema. Labed just great here in lead role constantly in a mode of reaction and reflection. Relationships seem authentic adding to the power of the projection.
Great performance of Ariane Labed and great directing to make me say "woman touch" as I said before for Catherine Breillat's "Fat Girl". Dialogs between Marina and her dad were quite impressive. By the way, I don't see any connection between Dogthooth except both two movies are Greek and both two movies talk about sex instinct.