Landscape in the Mist (1988)
Country: GR/FR/IT
Technical: col 125m
Director: Theo Angelopoulos
Cast: Michalis Zeke, Tania Palaiologou
Synopsis:
Two Greek children run away from home to rejoin their father in Germany, but he is in reality only an invention of their mother's.
Review:
An odyssey movie like so many of its director's, set in a wintry, rainswept Greece, and shot in his minimalist, sometimes surreal, style, where each shot is held for almost twice as long as is necessary, anticipating 'slow cinema' by some years. Not without its moving moments, and accessible because of its child characters no doubt. It contains one sequence - the only sunlit one - akin to the opening of La Dolce Vita in which a colossal stone hand is hoisted out of a bay by a helicopter: pagan Greece's response to Italian catholicism?
Country: GR/FR/IT
Technical: col 125m
Director: Theo Angelopoulos
Cast: Michalis Zeke, Tania Palaiologou
Synopsis:
Two Greek children run away from home to rejoin their father in Germany, but he is in reality only an invention of their mother's.
Review:
An odyssey movie like so many of its director's, set in a wintry, rainswept Greece, and shot in his minimalist, sometimes surreal, style, where each shot is held for almost twice as long as is necessary, anticipating 'slow cinema' by some years. Not without its moving moments, and accessible because of its child characters no doubt. It contains one sequence - the only sunlit one - akin to the opening of La Dolce Vita in which a colossal stone hand is hoisted out of a bay by a helicopter: pagan Greece's response to Italian catholicism?
Country: GR/FR/IT
Technical: col 125m
Director: Theo Angelopoulos
Cast: Michalis Zeke, Tania Palaiologou
Synopsis:
Two Greek children run away from home to rejoin their father in Germany, but he is in reality only an invention of their mother's.
Review:
An odyssey movie like so many of its director's, set in a wintry, rainswept Greece, and shot in his minimalist, sometimes surreal, style, where each shot is held for almost twice as long as is necessary, anticipating 'slow cinema' by some years. Not without its moving moments, and accessible because of its child characters no doubt. It contains one sequence - the only sunlit one - akin to the opening of La Dolce Vita in which a colossal stone hand is hoisted out of a bay by a helicopter: pagan Greece's response to Italian catholicism?