1962. A glamorous American couple, the charismatic Chester MacFarland (Mortensen) and his alluring younger wife Colette (Dunst), arrive in Athens by boat via the Corinth Canal. While sightseeing at the Acropolis they encounter Rydal (Isaac), a young, Greek-speaking American who is working as a tour guide, scamming tourists on the side. Drawn to Colette's beauty and impressed by Chester's wealth and sophistication, Rydal gladly accepts their invitation to dinner. However, all is not as it seems with the MacFarlands and Chester's affable exterior hides darker secrets. When Rydal visits the couple at their exclusive hotel, Chester presses him to help move the body of a seemingly unconscious man who he claims attacked him. In the moment, Rydal agrees but as events take a more sinister turn he finds himself compromised and unable to pull himself free. His increasing infatuation with the vulnerable and responsive Colette gives rise to Chester's jealousy and paranoia, leading to a tense and ...Written by
Principal photography began August 2012 in Athens, Crete, Istanbul, and London's Ealing Studios. Identifiable locations include the Küçük Hasan mosque on Chania harbour, a nearby café and the Grand Arsenal in Plateia Katehaki, the ruins of Knossos near Iraklion, and the Grand Bazaar in Istanbul See more »
When Chester asks the detective if he was a Marine, the detective says "Yes" and that he was happy when he left Europe after the war. Although some believe the Marines were not in Europe during World War II, there were several units deployed there for security and guard duty (the US Embassy in London being one example), and to support Operation Overlord (the invasion at Normandy). They were also used by the OSS, the Office of Strategic Services, for covert missions in Europe during the war. Thus the detective could have easily seen service in Europe during the war. See more »
I have to applaud Hosseini's directorial debut. "The Two Faces Of January" takes us mostly to the 1960's Greece, with three main characters in focus.
Beautifully shot, this visually stunning period-piece (if I can call it that) relies on story and characters rather than trying to impress with extravagant plot twists and special effects. The narrative is very well balanced and restrained from the hyperactive traps of modern cinematic storytelling.
Good acting from everyone involved and my compliments to the music composer too, for providing a very fitting soundtrack.
This is classic film making. Nothing innovative but very beautiful to look at, a fitting choice to watch on a lonely evening.
46 of 53 people found this review helpful.
Was this review helpful to you?
| Report this