A prostitute (Evdokia) meets a sergeant (Yorgos). They fall in love and get married after a short love affair. Her profession, however, is a barrier for their relationship. They try to stay together and overcome their inner conflicts, but the social environment crushes them.
Many people who seem not to like originality and non-happy endings, are trashing this movie whilst others (amongst them myself) consider it one of the most important movie of the Greek cinematography. The movie is very very low budget but this doesn’t take away from the wonderful social critic, the very original direction and the amazing performances of most actors. When coupled with the beautiful music of Manos Loizos, it makes a movie really worth watching. The story as well as the character development is very well presented. Continue reading
Illia is Piraeus’s most popular person: an energetic prostitute, full of life and good humor.
Every day, she swims at the pier, entertaining the dock hands. Sundays she has an
open house with food, drink and song. Homer Thrace, an amateur philosopher from
Middletown, Conn., arrives in town to find out why Greece has fallen from ancient
greatness. He decides Illia is a symbol of that fall, so he sets out to study and to save
her. Unknown to Illia, he gets the money for the books and all else he gives her from Mr.
No Face, the local vice boss who wants Illia retired because her independence gives
other whores ideas. Whose spirit is stronger: Homer’s classical ideal or Illia’s? Continue reading
The painful passage from being imprisoned in the extortionate dilemmas of familial and sexual relationships to accepting a personal point of view. A narrative constructed on the associative structure of memory and dreams. Continue reading
Here is an excellent overview of the film that provides a ton of background information that greatly helps in understanding this outstanding film.
from Jump Cut, no. 10-11, 1976, pp. 5-6
copyright Jump Cut: A Review of Contemporary Media, 1976, 2004
“In THIASSOS even though we refer to the past, we are talking about the present. The approach is not mythical but dialectical. This comes through in the structure of the film where often two historical times are dialectically juxtaposed in the same shot creating associations leading directly to historical conclusions… Those links do not level the events but bypass the notions of past/present and instead provide a linear developmental interpretation which exists only in the present.”
— Theodoros Angelopoulos Continue reading
An ode to cinema as a sensation. A train thunders through a tunnel, seagulls screech above the water. An empty station, a bleak harbour and two lonely souls in a grey town. He’s an engine driver, she sells tickets for the ferry. He sees her every day in his train and is secretly in love. Is there hope for love in Athens? Continue reading
A 30-year-old man (Lefteris Vogiatzis) returns from America suffering an existential crisis. He goes to Corfu to see his sick mother and tries to find happiness through a desperate love affair with a young music teacher (Maria Xenoudaki). Along the way, he loses his love and ends his sick mother’s suffering.
IMDb.com Continue reading
Summer of 1922.
Photographer Norman Harris and Niki are sailing to America aboard the same ship. Norman in first class and Niki in third, together with some 700 other brides. They all carry the photograph of a bridegroom they have never met in their little trunks as well as their bridal gown. Norman is touched when he sees the brides in third class. Niki is the one who makes the greatest impression on him. Gradually they get to know each other and fall in love. Brides is a story about strong emotions, about dilemmas, about conscience, about a responsible attitude. It is about the little moments, the glances, the touches, the “yeses” an the “nos” that count in life.
Executive producer: Martin Scorsese Continue reading