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Hans Petter Moland
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Alec Fenton, an American by adoption and his wife, Marjorie, an American of Greek origin, live with their two children in Athens. Both Alec's business life and his tender relationships with his daughter are guided by a playful but deeply felt need to interpret the smallest details of the world as significant. Under the influence of powerful signs and premonitions, Alec allows himself to veer in and out of a love affair with a colleague, Katherine, eventually leaving his family and returning to America with his lover. Once there, however, the same belief system urges him back home for one final attempt to win back his family. But his new quest is endangered by the presence of a political activist, Andreas, in his family's life. Andreas becomes the victim of a series of incidents, each one more threatening than the last. Written by
Strand Releasing <email@example.com>
Can't really say that I though that this movie was a very good one to watch but it at least is being different in its approach and storytelling, which does keep you watching.
Make no mistake about it, this is an art-house movie alright. It's using a strange storytelling approach, that doesn't even necessarily feel like it's following a main plot line. It does add to the rawness and realism of the movie but then again, it distance itself from its viewers again by being vague and desperately metaphorical at times. A true mixed bag of a movie, that on the one hand does some stuff nice and originally, while on the other it's not always being a good or pleasant enough movie to follow, mostly due to its unusual approach.
I do admit that I got more in this movie as it was heading toward its ending. Suddenly the drama started to develop better and in a more interesting way and the movie also ends on a good note.
I couldn't really care for its first half though. This is probably also partly because of it that the characters don't really get developed enough, so you won't feel anything for them, or what they are going through. This is done all better in its second half, when we as the viewers are also more accustomed to its characters and the overall style of the movie.
It really is a watchable enough movie but I still can't think of any good reason why anyone should ever watch it though. Maybe only if you have a true love and passion for art-house cinema or are a big Stellan Skarsgård fan and want to see him playing a lead role, in an English spoken movie (well, some Greek as well).
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