Xenia

This is not a real review, it should be understood more as a collection of impressions on the film.

This film is almost indescribable because it is a modern odyssey where two brothers cement their relationship on a journey to find their father and somehow grow and establish themselves, this whole journey is dotted with picturesque characters who capture the attention and all the stories are interesting because the main stuff is this journey, but everything around it is very interesting from start to finish. In the film all the nooks and crannies of the protagonists' personalities are explored in a beautiful way, even if the main protagonist is the young boy, his brother also has a large space managed very well in the film.

One of the very good modern Greek movies. Xenia is the evidence that a new line of Greek cinema is much needed and it can be successful. Xenia is a movie about everything that's going on in Greece this last decade. Homophobia, racism and far right political parties synthesize the core of this movie. Two brothers take a journey to try and find their place in the chaos that exists in modern Greece, as they feel like strangers both in the country that they were born into and in the country they come from. The relationship of the brothers is the centerpiece of the movie with Kostas Nikouli stealing every single frame with his charm and talent. Nikos Gelia is a good lead as well and the movie manages to capture the real emotions and bonds forming between them. In the end I was left with uncertainty but also with joy and hope for the future.

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.

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.

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.