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 ...
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A, an American film director of Greek ancestry, is making a film that tells his story and the story of his parents. It is a tale that unfolds in Italy, Germany, Russia, Kazakhstan, Canada ... See full summary »
Famous writer Alexander is very ill and has little time left to live. He meets a little boy on the street, who is an illegal immigrant from Albania, and goes on a journey with him to take the boy home.
Director:
Theodoros Angelopoulos
Stars:
Bruno Ganz,
Isabelle Renauld,
Fabrizio Bentivoglio
Based on some historical events, the film gives a romanticized biography of Theodoros Kolokotronis, a Greek historical hero serving as a metaphor for Greece herself. Based on a circular ... See full summary »
Director:
Theodoros Angelopoulos
Stars:
Omero Antonutti,
Eva Kotamanidou,
Mihalis Giannatos
On New Year's Eve, a bourgeoisie group of hunters finds the frozen body of a long dead WWII partisan fighter. They spend the night debating what to do with it, which reveals their sins from the war and leads to their symbolic punishment.
Director:
Theodoros Angelopoulos
Stars:
Vangelis Kazan,
Eva Kotamanidou,
Giorgos Danis
It is 1936 in Greece, shortly before the Metaxas' dictatorship. A former drug trafficker and police informer, Sofianos, is in prison because of the assassination of a trade unionist during ... See full summary »
A woman murders her husband, upon his return home after a long absence, with the complicity of the lover who has relieved her loneliness. Costas Ghoussis, an emigrant recently returned to ... See full summary »
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>
One of the key influences in the film being made was the death of Theodoros Angelopoulos's mother in 1998. Her life had spanned virtually the entire century so he wanted to make a film that did the same. See more »
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.
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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.