Nina, daughter of a Greek woman who left Egypt in 1956, goes for the first time to Alexandria, discovers the city and the longing of her mother to tell her an old love story that she had ...
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A young woman's struggle to overcome life's economic restrictions in order to meet her true will. She is twenty-three and lives with her mother, a compromise she can no longer stand. ... See full summary »
Against the backdrop of an ongoing socio-economic collapse, a disillusioned mother of three is trapped in a vicious circle of terrible decisions and sharply ruthless actions. What can drive a perfectly normal individual to great extremes?
Bagas keeps his feeling towards his neighbor and childhood friend, Alexandria, but he is unable to express it out. Things change when Bagas realizes that his best friend, Rafi, moves ahead ... See full summary »
Nina, daughter of a Greek woman who left Egypt in 1956, goes for the first time to Alexandria, discovers the city and the longing of her mother to tell her an old love story that she had years ago with a French. but the mother doesn't tell her the truth, who knows why.Written by
Diane and I marveled at this wonderful film this afternoon after it had lain unwatched since its original taping months ago--our foolish mistake! Both of us were enchanted by the beauty of the story; the superb, natural acting of all the characters as well as the visual beauty of the exceptional cinematography. I was particularly intoxicated by this camera work enhanced by the stark beauty of the set decoration or should I more correctly say its lack of decoration because of the sparseness and simplicity of the sets. With movies I am more visually oriented than I am scriptorily oriented; therefore, this movie well be in my memory because of the simplicity and beauty of the interior shots. These shots were established through the brilliance of Maria Lliou' as director and completed by the photographic excellence of Yannis Drakoularkos.
As the movie progressed it became more and more apparent that Drakoularkos was setting his shots in the semi-darkened rooms of these older, larger, high-ceilinged rooms filled, very sparsely, with period furniture leaving the viewer with a delicious sense of past times as in a Somerset Maughan short story. Agnes Doutsi and Miranda Theodoridou, as Set Directors, were responsible for these minimalist sets that would not be out of place in a Sydney water-side apartment.
If you anticipate films filled with visions of beautiful images then this is a film for you. Do not let it disappear in film archives before you obtain a copy to accompany the decay of Venice; Alexandria, Egypt has much in common with this city of perpetual decay.
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