Penniless and without a future, an English teacher agrees to tutor a pampered woman, only to become enmeshed in a strange reality and a downward spiral of desire and illusion, guilt and self-contempt. Will the ugly truth set him free?
An eschatological look at Judgment Day on this now aged continent. A film requiem to western civilization and its barbarism, through allegories and symbols and a controversial perspective on the new Middle Ages.
Alexandre, a TV reporter, is working for a few days in a border town, where a lot of refugees from Albania, Turkey and Kurdistan are packed in. Among them, he notices an old man and thinks he is an important Greek politician who disappeared mysteriously a few years ago. Back in Athens, he asks this politician’s former wife to come and identify him. A slow and dry meditation about the inhumanity of borders.
A Greek-American filmmaker, known simply as «A», returns to his hometown in northern Greece for a screening of his latest controversial film. His real reason for coming back, however, is to track down three long-missing reels of film by Greece’s pioneering Manakia brothers who in the early years of cinema traveled through the Balkans, ignoring national and ethnic strife and recording ordinary people, especially craftsmen, on film. Their images, he believes, hold the key to lost innocence and essential truth, to an understanding of Balkan history.
Petra Going is a migrant cyborg, an agent of the Global Nomad Project: an international “Experience Data Agency” which sends hundreds of “receivers” like her to wander the globe and record a succession of random encounters. Periodically, they return to agency headquarters where they deposit their accumulated memories into an archive. This archive is available to users who then vicariously and virtually inhabit the ready-made landscapes of touristic consciousness. The motto of the GNP: “Nostalgia For Rent.”
This expansive Greek drama follows a troupe of theater actors as they perform around their country during World War II. While the production that they put on is entitled “Golfo the Shepherdess,” the thespians end up echoing scenes from classic Greek tales in their own lives, as Elektra plots revenge on her mother for the death of her father, and seeks help from her brother, Orestes, a young anti-fascist rebel.
As part of a television series devoted to Europe’s major cities, Angelopoulos was commissioned to make this film about Athens. Although much of Angelopoulos’ cinema is set among the villages of the northern countryside, he was born and raised in the city, so this film finds the director musing on an Athenian past that is variously ancient, national and personal, as well as clips from the “history” films The Travelling Players, The Hunters and Alexander the Great.
The Hunters, a thematic epilogue to the historical trilogy that centers on a group of middle-aged hunters who discover the perfectly preserved, 30 year-old frozen remains of a partisan (bearing an uncoincidental resemblance to the Byzantine image of Jesus Christ) and, compelled to deliberate on its ‘proper’ disposition, spend a haunted, restless evening confronting their past. Set in post-junta era Greece, the film is a contemporary allegory on the nation’s deliberate suppression of painful and unflattering history and collective deflection of personal accountability.