Xenia

In the past years, whenever I see a Greek film, I brace myself for depictions of social degradation and individual misery, which is sometimes well established and played out, and sometimes heavy-handed and riddled with clichés. 'Xenia' is the first one which I believe to manage a balance between its story, social themes, and symbolism - but at times it also feels quite uneven. While it does come quite close to being one of the most remarkable European films of late, some scenes are written better than others, which could have used less dialog or more cuts.

Dany, a gay adolescent with bleached hair, playful attitude and increasingly obvious psychological problems, makes his way from Crete to Athens to inform his brother Ody, who works in a fast food place and appears more grounded, of the death of their mother. Since she was Albanian, they decide to locate their father who left them soon after Dany's birth - because once they turn 18 they are subject to deportation if they cannot prove Greek relatives. They manage to find an old friend of their mother who helps them with their search. But Dany's tendency to run into trouble soon makes things more complicated.

The nice thing about 'Xenia' is that its characters are deeply symbolic, but so complicated that their various clichés appear realistic. The names Dany (for Daniel) and Ody (for Odysseus) are already charged, both of them mythological figures who have to overcome extreme challenges. Dany isn't just very obviously gay and troubled, but has beautifully displayed visions which make it difficult to tell where the dream ends and reality begins. Ody isn't just the caring elder brother, but has inherited singing talent from his mother and strives to show it. The various secondary characters are likewise both stereotypical and complicated, as the flamboyant gay club manager with a genuine motherly affection for migrants, or the family-deserting father who turns right-wing politician.

These are spiked with scenes of social conflict and symbolic realism, all of which result in a very original style reminiscent of Almodovar, as exemplified by cameos and songs of 60's Italian sensation Patty Pravo. However, symbolism is Xenia's biggest charm. For instance, the title refers to an abandoned hotel in which the brothers take temporary refuge - the irony being that 'xenia' means 'hospitality', thus the ruin becomes a metaphor for present Greece itself. If you are able to catch all these allusions and do not mind that the story is somewhat lost, you're in for a real treat with this one. If, however, you like linear storytelling and character development, there's a good chance you will loathe this.

The movie «Xenia» (with the accent on the i, but I will not tell you what it is in the story) is more Aristotelian than other Greek adventures of recent vision, with a "secure structure" built on cause and effect, and it is also more sentimental, more melo-Greekly passionate... And very gay in tone (by courtesy of director Panos Koutras), although no sexual orientation is the core of the plot. It has to do with two brothers born in Crete, children of an Albanian woman who has just died and a Greek man who abandoned them. Suddenly the younger one realizes that his brother and he were not recognized, they have no documents, they are strangers in their own land, so out they go in search of their (s.o.b.) father, while some dreams are sought after and a maturing process leads them to their goals. Excellently played by the two leading actors, Kostas Nikouli and Nikos Gelia, the film combines the harsh realities of xenophobia and privation with beautiful scenes, like a brief night cruise by boat, while the boys sleep on board and on the shore the vessel is escorted by the entities in their fantasies during childhood, a period signed by abuse (David Lynch would applaud) and some surprises like Dido, the rabbit. «Xenia» won the Hellenic Film Academy awards for Best Motion Picture, Direction, Screenplay, Supporting Actor, Editing and Costumes; and the Best Film Award at the festivals of Gijón, Rio de Janeiro, and Chicago.

Two brothers looking for their father after the death of mother. A realistic - poetic portrait of Greece realities, beautiful acting, well used symbols and a seductive story of self definition, growing up, family, friends, connections and expectations, with fair influences of Fellini and Almodovar. For many reasons, a surprising film for high honesty first. But beautiful and smart constructed, cold and touching.

this may contain spoiler

Greece has received great number of refugees and immigrants the last decades and that resulted in a huge reformation of its socio geographical landscape. The first wave of immigrants, in the early 90's, came from the neighboring Albania right after the fall of Hodja's regime. They are the largest ethnic group of immigrants in Greece up to today, while many of their children have been born in Greece but they are refused of citizenship rights, according to an anachronistic law that, hopefully, will be amended.

That situation is exactly what the movie is about. Two youngsters, of Albanian mother and a vaguely known Greek father, after the death of their mother put themselves in the search of the father, in order to get his testimony and obtain the long cherished Greek citizenship.There starts a juvenile road movie from the Greek capital towards the northern Thessaloniki, portraying scenes of the countryside as nature and human landscape, denoting the unbreakable bond between the two brothers, their struggle to survive in a not always welcoming society and their eagerness to change their fate.

The movie treats the delicate issue of the immigrants adaptation in the Greek society, which has corresponded in a controversial way. There were other Greek movies with similar theme, such as To kanarini Podilato (The Canary-color Bicycle) and O Dromos gia ti Disi (The Way to the West) but what differentiates this one is his hilarious attitude and optimism, which made it a teenage hit in Greece. People move on in their lives facing their realities and accepting their particularities without losing their innocence. As one of the protagonists says: ' We have no home, that means that all the world is our home.'

Thus cosmopolitanism, anti racism, anti-homophobic, two heartwarming young protagonists that call you to partake, a vivid scenario without clichés and full of surprises consist what could be an emblematic film for Greece in the 2010's

Dany and Ody are brothers who have not seen each other for a while. Then Dany turns up in Piraeus to tell Ody that their flamboyant Albanian mother has dies and that they need to find their estranged Greek father – and to enter Ody in 'Greek Star' – a talent show of all talent shows. Oh yes and to get Greek citizenship and thus avoid being deported.

So begins the odyssey and it is necessary to point out that Dany is gay and fairly extrovert and the film takes a few minutes to warm up and I implore you to stay with it – you will be well rewarded. It has surreal moments to including one with a big bunny rabbit – but 'Donnie Darko' this ain't.

The enthusiasm for the characters and the care in which they are played shines through the screen. There is also a plethora of supporting players and I loved nearly all of them. Plus we get some great song and dance routines and a soundtrack that makes you want to get up and join in. I simply adored this film it left me in a great mood and I was miffed when it ended such is the fun of this journey. If you do not mind a bit of surrealism and can still believe in dreams or you just want a great loving film then this is one you will not wish to miss.