Theodoros Angelopoulos

Theodoros Angelopoulos – Taxidi sta Kythira AKA Voyage to Cythera (1984)

Spyros (Manos Katrakis), a political refugee, returns to his homeland in his old age after many years in exile. His return is thorny, as even his wife (Ntora Volanaki) is like a stranger to him. Spyros no longer belongs to his society or his land; he is a man without nationality whose heart beats in the past, an Ulysseus who returns to a home that no longer exists. Read More »

Theodoros Angelopoulos – Meres tou ’36 AKA Days of ’36 (1972)

In 1936, the balance between centrist and right-wing political forces that support the Metaxas regime is undermined by the hostage-taking of lawyer and right-wing MP Kontaxis. In a square, a union member has been murdered. A man named Sofianos, a former police collaborator now fallen from favor, is suspected of being behind the killing. Sofianos tries in vain to prove his innocence and takes Kontaxis hostage. He threatens to kill Kontaxis if they don’t let him go. Sofianos ends up being killed. Read More »

Theodoros Angelopoulos – Oi Kynigoi AKA The Hunters [171 min version] (1977)

Synopsis wrote:
[…]The Hunters (1977), 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 suppre
Acquarello. “Theodoros Angelopoulos.” Senses of Cinema, July 25, 2003. Read More »

Theodoros Angelopoulos – Ekpombi AKA Broadcast (1968)

Angelopoulos’ first (completed) film won the Hellenic Association of Film Critics prize in 1968 for best short fiction film. It is a witty dismantling of media celebrity that uncannily prefigures the era of reality television. Read More »

Theodoros Angelopoulos – Anaparastasi AKA Reconstruction (1970)

Synopsis wrote:
The film is based on an actual event, the murder of a Greek worker living in Germany by his barmaid wife Eleni and her lover Christos, who falsify the evidence of the husband’s return to Germany but are suspected by a sister-in-law and eventually accuse each other of the crime. A woman murders her husband, upon his return home after a long absence, with the complicity of the lover who has relieved her loneliness. Costas Ghoussis, an emigrant recently returned to his native country, is coming back from the fields, a shovel on his shoulder. He pushes open the garden gate in front of his house and calls his wife: Eleni! She does not answer; the reason: she is hidden behind the door of the kitchen with another man, Christos, a gamekeeper, the lover that she took during her husband’s absence. Just as Costas crosses the threshold he is attacked and strangled. Read More »

Theodoros Angelopoulos – To Meteoro Vima tou Pelargou AKA The Suspended Step of the Stork (1991)

Synopsis wrote:
A journalist (Grigoris Patrikareas) is conducting an investigation regarding the refugees in Northern Greece and the immigrants who are detained at the border. He meets a man (Marcello Mastroianni) who resembles a politician who has gone missing. His wife (Jeanne Moreau) is summoned to identify him, but when she sees him she states that he is not her husband. The man’s identity remains unknown in a world where natural borders are not just a place of transition, but also an end, a no-man’s land, the end of a century. Read More »

Theodoros Angelopoulos – Taxidi sta Kythira aka A Voyage to Cythera (censored version) (1984)

From Strictly Film School:
A pensive, middle-aged filmmaker named Alexander (Giulio Brogi, but whose voice was dubbed in Greek by Theo Angelopoulos) on a shooting break from the filming of a semi-autobiographical feature that explores the plight of returning political refugees during the general amnesty of the 1970s, encounters a gaunt, yet ennobled old man selling lavender at a kafeneon (a village cafeteria and lounge). Captivated by the humble vendor who perhaps bears a resemblance to his own absent father, Alexander follows the old man into the mist. Does Alexander, the abandoned son, believe this man to be his father, or does he, the director, envision this frail elder to be the ideal embodiment of the aging partisan (a part that he has been unable to cast) for his film? Reality becomes obscured in the metaphor of the enveloping fog. Read More »