Katina, an impoverished Greek woman, tries to arrange the marriage of her shepherd son, Thanos, to Despina, the daughter of a wealthy landowner. But when Despina’s father, Vlahopoulos refuses to give his blessings.
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Rarely has cinematic vision captured with such ethnographic and ceremonial savagery the oppression of multiple social structures. This pastoral symphony of evil as the master-slave dialectic is doubled at every turn and catapults the tragicomic couple to 'freedom' is told in visceral, cerebral and highly metonymic means, rendering with untold audacity and skill the plight of a colonized country an orderly disorder!
In the previous film, from a Genet's play, the ritualization and the extreme of suicidal acts found a proposal of hysterization that this one spreads through more characters and spaces but maintains, though with much more rigor, the same intention of giving body to a Greek tragedy, in the etymological sense of the term. Fact achieved. Ironically, a character is called Pericles, being his opposite.