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Title: Trilogy: The Weeping Meadow (2004)
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| Cast overview, first billed only: | |||
| Alexandra Aidini | ... | Eleni | |
| Nikos Poursanidis | ... | Alexis | |
 |
Giorgos Armenis | ... | Nikos |
| Vasilis Kolovos | ... | Spyros | |
| Eva Kotamanidou | ... | Kassandra | |
| Toula Stathopoulou | ... | Woman in the Coffee House | |
| Thalia Argyriou | ... | Danai | |
| Smaro Gaitanidou | |||
| Mihalis Giannatos | ... | Zisis | |
| Grigoris Evangelatos | ... | Teacher | |
| Aliki Kamineli | |||
| Andromahi Hrysomalli | |||
| Alex Moukanos | ... | Nondas | |
| Thodoros Teknetzidis | |||
| Dimitris Kolovos | |||
This is the first film of Theo Angelopoulos' trilogy. The story starts in 1919 with some greek refugees from Odessa arriving somewhere near Thessaloniki. Among these people are two small kids, Alexis and Eleni. Eleni is an orphan and she is also taken care by Alexis' family. The refugees build a small village somewhere near a river and we watch as the kids grow up and fall in love. But difficult times of dictatorship and war are coming... Written by Chris Makrozahopoulos <makzax@hotmail.com>
I had watched years ago some older films of Aggelopoulos and i was expecting a slow movie, with minimal dialogues, many symbolisms, weak plot and superb photography. I got exactly what i expected and something more: i left the theatre with an extreme satisfaction.
The film: Greece roughly between 1920 and 1950 (but it is so current and contemporary because it deals with global, recurring themes). The life of the nation through events: national catastrophes, refugees, social and political unrest, world and civil wars. The life of the person through emotions: love, lust, pride, hope, love, desperation, ambition, love, death. And many symbolisms and extremely powerful and beautiful scenes with references from ancient myths to current international affairs. And rain, lots of rain :-) The plot and the development of the characters may appear weak. We are used to ready meals from the business of cinema, which overwhelm us with fast dialogues, "strong" performances and "exciting" situations. And that's fine. But cinema and people need also the approach of Aggelopoulos, we need some space and time, to reflect and realise our existence. "To Livadi pou dakryzei" gives more freedom and time to the viewer to participate with his feelings and memories and thoughts. That's exactly interactive art.
These are some of my interpretations of some scenes: village flooding (Climate Change and the forces of Nature), immigration/separation (departure of my girlfriend), mother crying over her soldier sons dead bodies (this is a real war scene, not the computer games style). You will identify with other scenes (everyone has an opinion, right ?) and you will feel alive.
I am grateful to Aggelopoulos for giving me the chance to look inside myself, remember, sigh, think.