Topio stin omichli (1988)

Director:

Theodoros Angelopoulos

Writers:

Theodoros Angelopoulos (story)
Tonino Guerra (writer)

Release Date:

10 September 1988 (Greece)

Genre:

Drama

Plot:

Road movie about two children (Voula and Alexandre) searching for their father who is supposed to live in Germany...

Plot Keywords:

Actor | Death | Child | Rape | Bus

Awards:

4 wins & 3 nominations

Cast

Michalis Zeke	...	Alexandros
Tania Palaiologou	...	Voula
Stratos Tzortzoglou	...	Orestis
Eva Kotamanidou
Aliki Georgouli
Vassilis Kolovos	...	Truck Driver
Vassilis Bouyiouklakis
Ilias Logothetis	...	Seagull
Vangelis Kazan
Stratos Pahis
Mihalis Giannatos	...	Train Station Guardian
Kiriakos Katrivanos
Grigoris Evangelatos
Giannis Fyrios
Nikos Kouros

Also Known As:

Τοπίο στην ομίχλη (Greece)
Landscape in the Mist
Paesaggio nella nebbia (Italy)
Paysage dans le brouillard (France)
Topio stin omihli (Greece) (alternative transliteration)

Runtime:

USA:127 min

Country:

France | Greece | Italy

Language:

Greek

Color:

Color

Aspect Ratio:

1.33 : 1

Sound Mix:

Mono

Certification:

Iceland:L | South Korea:15 | Finland:K-10 | Singapore:PG

Company:

Basic Cinematografica

Appreciation.

Every once in a while a great film comes along which seems to transcend the medium, to give one faith in the movies, even hope that everything on this planet is not futile. LANDSCAPE IN THE MIST is such a film. It has garnered a great deal of critical acclaim wherever it has been shown and a top prize at the 1988 Venice Film Festival. LANDSCAPE IN THE MIST is the story of two Greek children, 11-year-old Voula and her 5-year-old brother Alexander, who wander across the start Greek winter landscape as they attempt to make their way, by train and by other means, to Germany. It is almost a mythic quest to find their father, who in reality does not even exist. Around this delicate framework, Angelopoulos has fashioned a work of soaring lyricism, a film of magniloquent majesty, a haunting poem that moves us to the depth of our souls. As with the work of some other great directors like Bergman, Kurosawa, Rossellini, Bresson and Antonioni, Angelopoulos' films require an especially intense effort on the part of the audience not often required or inclined to give itself so fully to a movie that even the consumption of popcorn seems an obscenity. Credit has to be given also to the photography of Giorgos Arvanitis and the impassioned musical backdrop of Eleni Karaindrou who would receive such acclaim for her score for Angelopoulos' subsequent ULYSSES' GAZE. Tonino Guerra, one of Fellini's constant scriptwriters, collaborated on the script.