Road movie about two children (Voula and Alexandre) searching for their father who is supposed to live in Germany. Their obsession for this father figure will take them to the boundaries between childhood and adolescence.Written by
Carlos Morales <email@example.com>
After the scene of the hand surfacing out from the sea, the young actor says the sentence 'Who, if I cried out, would hear me among the angels' hierarchies?'. This sentence is from The First Elegy by Rainer Maria Rilke. See more »
[writing a letter to her father]
Dear father, we are writing because we have decided to come and find you. We have never seen you and we miss you. We talk about you all the time. Mummy will be upset that we've gone. Deep down inside we love her, don't think we don't, but she doesn't understand anything. We don't know what you look like. Alexander says all sorts of things. He dreams about you. We miss you so much. Sometimes on my way home from school I think I hear footsteps behind me, your ...
See more »
Opening titles: The band "The Last Drive" is heard from their Hitch-hyke records' "Underworld Shakedown" album (credit appears on the same screen with those for photography assistants). See more »
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.
25 of 34 people found this review helpful.
Was this review helpful to you?
| Report this