Theodoros Angelopoulos – O Melissokomos AKA The Beekeeper (1986)

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Acquarello wrote:
The Beekeeper opens to a static shot of an extended dinner table festively covered with a white tablecloth and ornamented with rose petals that is sitting empty at the center of the courtyard in the rain, as the sound of Spyros’ (Marcello Mastroianni) affectionate voice is heard recounting to his young daughter the natural selection process of bees that culminates in the majestic queen’s dance. The guests have retreated indoors for what is revealed to be the wedding reception of Spyros’ daughter – now a grown woman – in the family home. From the onset, the middle-aged schoolteacher’s profound disconnection is immediately palpable as he shares a prolonged, uncomfortable silence with his wife (Jenny Roussea) while picking up shards of broken glass from an overturned tray of wine glasses. Dispirited by his inevitable separation from his beloved daughter, Spyros separates from his wife and embarks on his forefathers’ traditional vocation of apiculture. Traveling southward with his bees on an instinctual springtime migration, Spyros encounters a young hitchhiker (Nadia Mourouzi) who, abandoned on a rural truck stop, insinuates herself on the resigned and acquiescent Spyros through intermittent points on his indeterminate journey. Estranged from an unfamiliar modern world where his generation has become a historically incidental relic, Spyros attempts to reconnect with humanity through the promiscuous and rootless young woman and, in the process, retreats further into the solitude of his dying avocation. Continue reading

Theodoros Angelopoulos – O thiasos aka The Traveling Players (1975)

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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

Theodoros Angelopoulos – Trilogia II: I skoni tou hronou AKA The dust of time (2008)

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Synopsis (Written by Theo Angelopoulos):
A, an American film director of Greek ancestry, is making a film that tells his story and the story of his parents. It is a tale that unfolds in Italy, Germany, Russia, Kazakhstan, Canada and the USA. The main character is Eleni, who is claimed and claims the absoluteness of love. At the same time the film is a long journey into the vast history and the events of the last fifty years that left their mark on the 20th century. The characters in the film move as though in a dream. The dust of time confuses memories. A searches for them and experiences them in the present. Continue reading

Theodoros Angelopoulos – Trilogia I: To Livadi pou dakryzei AKA Trilogy: The Weeping Meadow (2004)

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Angelopoulos moves his forces like a juggernaut to stage formidable set-pieces, coups de thιβtre that impress with their vast scale without necessarily engaging our emotions. In his most remarkable feat, he constructs a low-lying town in a dry lakebed only to drown it for a spectacular inundation. There follows a floating funeral on a water-borne raft, players posed beside the open coffin, as a flotilla of boats proceeds with a flourish of black flags. Prows part the water as the camera glides ahead, like a courtier preparing the way, but a sudden change of angle confronts us with a massive phalanx of figures reflected in the floodwater, with blue sky streaking the top of the frame. Continue reading

Theodoros Angelopoulos – Mia aioniotita kai mia mera AKA Eternity and a Day (1998)

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Synopsis
rottentomatoes.com wrote:
Eternity And A Day traces the final days of Alexandre (Bruno Ganz), a celebrated Greek writer who is terminally ill, as he prepares to leave his seaside home forever. While packing, he finds a letter from his long-dead wife, Anna (Isabelle Renauld), who wrote about an enchanted summer day they spent thirty years ago. From that point, Alexandre embarks on a mystical journey through his past and present. Continue reading

Theodoros Angelopoulos – To vlemma tou Odyssea Aka Ulysses’ Gaze (1995)

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From IMDb
One of the most beautiful, poetic films ever made. The opening scenes are pure, unbeatable art. Rather than the unwinding of the complex narrative itself, it is the visual power of the images that Angelopoulos offers us that make this work so disturbing and beautiful. You have to watch the film as a series of paintings, poems, installations and performances rather than a conventional movie. The acting is superb, especially Harvey Keitel’s performance, one of the best that this great actor has ever delivered. Especially memorable is the scene in which an old woman is taken for a ride to her hometown in Macedonia by Keitel. The woman left Macedonia before the advent of Communism and is now returning to her country for the first time in decades. Since her absence, her place has been transformed in a nightmarish communist city, filled with gray, impersonal, concrete buildings. We see the woman helpless and bewildered in an environment that she no longer recognizes, while Keitel goes away. A powerful metaphor of the fast and tremendous transformations suffered by the Balkans during the 20th century. Continue reading

Theodoros Angelopoulos – Topio stin omichli aka Landscape in the Mist (1988)

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SYNOPSIS
from Angelopoulos’ website
LANDSCAPE IN THE MIST is a film about the void. It is a film about despair, about the failure of contemporary society. The prodigal father who figures in almost every Angelopoulos film here has evaporated into his mythical essence – leaving his children to become the wanderers in search of him. In the «chaos», two children appear, little Alexandros and his older sister Voula. In order to exorcise their loneliness, they invent a secret universe for themselves, inhabited by their dreams. Every night they go to a train station to watch the departure of a train to Germany, where they have been deceived by their mother (herself an off-screen presence) into believing that their absent father is living. One night they finally dare to get on the train. But their voyage turns out to be hazardous and pointless and disappointing. They confront suffering, physical and moral illness, jealousy, evil and death, if also love – as many ordeals and rites as initiations. Evading the half-hearted pursuit of the police and uncaring relatives, sneak onto trains, hitchhike in vans and lorries, and suffering poverty, rape and exploitation, take a dangerous leap of faith, an eerie plunge into liberation and danger. The familiar Greek landscape – the cafes, the depopulated towns and deserted beaches – are played for a strangely harsh fairytale quality, seen through the eyes of two children whose introduction to the real world borders on the surreal. The film is filled with extraordinary, unforgettable moments that are at once real and hallucinatory and contains intriguing references to other Angelopoulos’ films. The children even encounter the Travelling Players now, thirteen years later, without a stage to act on, their costumes put up for sale. At the end Alexandros tells Voula the same story from Genesis that she told him at the start: «In the beginning there was chaos.» The children do finally reach the border, but of course there is no border with Germany and perhaps the river they cross is actually the Styx and perhaps their whole journey was a search for order in a chaotic world. Continue reading