How two stories of an old, dying, and a young, mistreated existence coincidentally intertwine, resulting in a highly unusual, but very pure and credible friendship. The nostalgic daydreming of Alexandros make me feel like I'm watching a Fellini film, but there's plenty other stylistic elements utilitzed by Angelopoulos, skillfully crafting this into a superb film. I don't think I'll ever forget that busride scene.
i am compelled into an overwhelming silence in intervals. the deliberate movement within a setting can capture and release an entire rupture of my heart. and the words, when they come, they do not rush past like the smudge entrails of a waterfall, they demand their own fringe, breathing with a force: moving like a kind of animal with a purpose to devour something more enduring than flesh
Not the strongest Angelopoulos by a long shot, its golden plant notwithstanding. This is a filmmaker who I always revere above all else for his tremendous virtuosic streak (evident above all else in the deployment of peerless sequence shots). There is some of that here. Naturally. But there is also a lot of visually drab downtime. And much of this is the ponderous hackneyed stuff of weak Greek verse. You may wince.
Every single shot of 'Eternity & A Day' is framed with such meticulous balance, such structural beauty and neutralized color palette, filled excessively with extras walking to and fro, all culminating to bring the images on the screen to life- this film is nothing short of a visual splendor! Angelopoulos' tender observation of a man knowingly living out his final day is as powerful as it is subtle, as unnerving as..↓
A filmic child of Ingmar Bergman's Wild Strawberries and Akira Kurosawa's Ikiru that is both derivative and wholly original at the same time. The director unflinchingly dwells into themes about - life, death and the value of one man's soul - creating a truly transcendent modern tragedy. A cathartic experience.
"Why does one have to rot in silence torn between pain and desire?" I appreciate the foley, the poetic nature of the film, and Angelopoulos' trademark depressing street parade, led by an unenthusiastic accordion player, ostensibly celebrating a happy event. The protagonist, however, is fairly odious, some writer asshole with bourgeois regrets. Two and a half Ks.