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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 think anyone familiar with Angelopoulos knows what to expect with his films: long, drawn out, meticulously planned shots that slowly scan environments, with the image composed of not only the foreground but hundreds of yards into the background. I guess some are not impressed with the director's style, but that really astounds me. I definitely see the man as a master of his medium, and The Weeping Meadow is as good as any of his other films every one I've seen so far is a masterpiece or close to it. This film has a lot in common with the director's first big success, The Traveling Players. It follows a little girl, Eleni, from 1919 to the time of the Greek Civil War, at the end of WWII. And, as the title implies, it's a great tragedy. There is a lot of weeping. It may be long and slow, but it's always gripping. Angelopoulos' imagery is second to none in modern cinema. There are just so many jaw-dropping sequences. My favorite was the one where the camera explored its way through a maze of bed sheets drying on clotheslines, discovering various musicians hidden within. It's not a complaint, per se, but if you're going to watch the film beware of its chronological ellipses. The film can skip ahead years in just a second, when the pace usually makes each second feel like years (in a good way!). I hope New Yorker video, or some other company, digs up the Angelopoulos films that have been unavailable so far, and puts The Traveling Players on DVD, as well.