No Longer ‘Weird,’ Greek Cinema Defies Labels, Borders

Alpha Violet

There was a time not way back when any speak of Greek cinema shortly turned to a motion loosely characterised because the Greek Weird Wave, recognized for a sure deadpan aesthetic that was popularized with the breakout success of Yorgos Lanthimos (“Dogtooth”) and Athina Rachel Tsangari (“Attenberg”).

That has modified, if the label ever actually match to start with. “I don’t believe that there is a specific Greek wave,” says Christos Nikou, whose debut characteristic, “Apples,” a few lonely man who turns into a sufferer of an unexplained surge of amnesia in his metropolis, is being bought by Alpha Violet through the Cannes digital market.

“My intention was to make a movie more close to the cinema I love as a viewer,” he continues. “Movies that create their own worlds and have conceptual ideas and at the same time have an unusual and complete story to narrate.”

It’s a creative imaginative and prescient that, actually, unites him with lots of his Greek contemporaries. “All the filmmakers I’m working with have the common characteristic that their body of work defies genres and crosses borders,” says Maria Drandaki of Homemade Films. “They are all stretching and challenging the limits of the cinema as a medium and of reality itself. They don’t necessarily belong to the same generation, but they all have in common that they are citizens of the whole planet rather than strictly Greeks.”

Drandaki shall be presenting “Animal,” the sophomore characteristic of director Sophia Exarchou (“Park”), which was chosen for the Cannes Cinefondation’s L’Atelier. The producer says the movie bristles “with a striking, vibrant and dark youthfulness” that was additionally attribute of Exarchou’s debut.

Also on Drandaki’s Cannes slate is “Titanic Ocean,” the characteristic debut of Konstantina Kotzamani, whose brief movies have performed in Cannes, Venice and Berlin; “Faraway,” by Yorgos Zois (“Interruption”); and “The Dragon Has Come,” by Christos Passalis.

Yorgos Tsourgiannis, of Horsefly Films, shall be presenting Michalis Konstantatos’ “All The Pretty Little Horses,” a few married couple searching for refuge in a small coastal city after a serious setback of their lives. “Besides the diversity in subjects and themes, I perceive the conversation in the larger landscape of the Greek cinema to be on cinema itself in a way. What is cinema now?” says Tsourgiannis. “It’s something that excites me, and I find traces of that in Konstantatos’ ‘Pretty Horses,’ or Efthimis Kosemund Sanidis’ debut feature, ‘That Burning Light,’ that I’m currently developing.”

Five options had been additionally chosen for a digital presentation of Thessaloniki Goes to Cannes, the Cannes Film Market’s annual pics-in-post business showcase supported by the Thessaloniki Intl. Film Festival.

This yr’s choice consists of “Green Sea,” the story of a lady struggling to rebuild her previous after dropping her reminiscence, directed by Angeliki Antoniou; “Dog,” Yianna Americanou’s portrait of a boy from a damaged residence on the cusp of manhood and eager for a secure household life; “Esperanto,” Stratis Chatzielenoudas’ documentary concerning the members of a chook breeding membership that explores the communication, language and the connection between people and birds; “If It’s Not OK It’s Not the End,” a documentary a few three-time boxing champion who reinvents himself within the ring whereas attempting to restore his relationship together with his spouse and youngsters, from director Salvador Muñoz Saiz; and “Made in Vain,” Michael Klioumis’ intimate look into the world {of professional} physique constructing.

“The selection process aims to showcase bold films from the most unique and pioneer voices that reflect these critical times,” says Thessaloniki Film Festival basic director Elise Jalladeau, who curated the line-up. “The films come from established directors as well as newcomers, female as well as male voices, showing the range and diversity of Greek cinema.”


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