A dream for movie for cinematograpers but too formalistic for the average joe? Approaching the story of Greek migrants through the eyes of these two displaced children is relevant as i I was reminded of Bertolucci's 1900. The pictorial yet obtuse approach to the epic reminded me of Greenaway's Tulse Luper suitcases is as it skips around the decades but if you stick with it there is a devastating emotional payoff.
Angelopoulos revisits here thematic and visual motifs of his previous works: the Jancsó-like pans, the camera's scopic disclosure and play with the absent gaze, the individual who is crushed by History's collective forces, the trope of dance as a political juxtaposition are some of the epiphanies he reseves for the patient viewer who has to endure a monolithic acting. The motherly/conjugal suffering is very moving.
The first of a projected trilogy but Angelopoulos tragically died during the filming of the third. As per usual his films are deeply personal, puzzling, based on Greek history and turmoil. It might be his most beautiful visual film with an irresistible musical score. Essential poetic cinema.
This surprised me. It turned out to be one of the finest anti-war films I've seen. The occasional instances of melodrama actually enhanced the clarity of the message. The cinematography is astonishing, some of the shots are as good as anything else in Angelopoulos' oeuvre. A very good 8/10.
There is no exaggeration when it comes to what you've heard about the imagery. WOW. Everything about it seems to strive to be Angelopoulos' masterpiece, and it certainly has everything in place but one key element: emotional investment in the characters. Alexandra Aidini is the only one to contribute to a huge, devastating wallop by the end, but if everyone else did I can only imagine how great this would've been.
The film rarely allows us to become interested in these characters, hardly the viewer is aware of what they are feeling or doing, and there is almost no point in the film where one can decipher whether the acting is good or not. Some of the imagery is beautiful, but pointless. The story has no purpose in being told. One need to be blind sided to say Theo is without flaws. In this film they are clearly highlighted.