Kinetta

"Kinetta" is a Drama movie in which we watch a group of strangers, at a Greek hotel in the off-season trying to recreate some homicides and, film and photograph them.

I have to admit that I wasn't sure what to expect from this movie but after watching I need to say that I wasn't ready for this. The plot was weird, it didn't make any sense and the evolution of the movie was slow and boring. The direction which was made by Yorgos Lanthimos was something very different from his new movies. Regarding the interpretations of the cast I don't have much to say since there isn't anything worth saying. Finally, I have to say that "Kinetta" is a weird movie or maybe I didn't understand it.

Yorgos Lanthimos' solo directorial debut is a 95 mins long exercise in boredom & nonsense that at first piques the curiosity with its perplexing premise but it doesn't take long for the interest to fizzle out. An experimental drama that deals with psychology & behaviour studies through three strangers who team up to recreate badly reenacted scenes of homicides, Kinetta is one hell of a slog.

Also co-written by Lanthimos (Dogtooth & Alps), the story should've sufficed as a short film, for it doesn't have enough material to deliver as a feature-length narrative. Lanthimos' lets the plot to drift & wander with no sense of direction and the dreary ambience & awful camerawork don't help the cause either. There are however signs of quirkiness that the director is today known for but it's not refined.

The dizzy handheld camerawork becomes a bother after a while and the characters being cold & distant don't offer any inlet into the story as well. Performances are barely serviceable, its 95 mins narrative is tediously paced and bland editing makes the whole thing a frustrating sit. The idiosyncrasy on display doesn't have much to hold on to, and just being able to sit through it all feels like an achievement.

Overall, Kinetta is a dull, lifeless & excruciatingly slow offering that unfolds like a story on stasis and suffers from poor direction, lazy writing & no idea about what it wants to be. An experiment by the filmmaker to carve out his own unique style by throwing around a few ideas & checking if any of it sticks, this Greek picture is neither properly executed nor thought through and is solely reserved for Lanthimos completists.

at last, something new is going on Greek cinema. i was disappointed by reading the summary in Thessaloníki film festival. it is not a film that tells a history, thus it is not worth searching for academic forms just to try to fit in a category. i was excited that a Greek film can touch me without listening thousands words by the actors with the dictionary of hard meanings on my legs. the film is using, simply, the language of body, helping it with an excellent camera work and if you are not afraid of leaving yourself free, watching the minimum cinema "effects", you 'll get the sentiment. i saw three kind of people in the film, i saw different kind of people's loneliness and people's imposition of power. risky but very efficient the direction-editing throws to the recycle bin whatever isn't really essential. brilliant music replaces lost people's senses without been overused. imaging there was a lot of improvisation on shooting i am curious of how a choice was taken because the film is running consecutively and nothing seems kicked out. after all, it's a hope that some guys load some 16mm magazines don't wait the big production budgets and do some new cinema.

I met Lanthimos in 2016 with Dogtooth, but what really made me love his filmmaking was The Killing of a Sacred Deer. I loved the ambiguity, the unsettling feeling, and, of course, the deadpan delivery of the characters. In Kinetta I found very little of that Lanthimos. The movie has little dialogue, and I see it more as an experience than a story. We don't get to know too much about the characters. Hell, we don't even know their names. The plot is nowhere to be found. A lot of times it seems that nothing is happening at all: people walking, cleaning the hotel rooms, eating ice cream, and so on. The pacing is extremely slow, and many scenes drag on for too long. The camera is handheld, sometimes too shaky, and far away from the pristine visuals in Lanthimos latest films. However, I do believe that there's something here. The constant discovery of who the filmmaker is that many years later will develop all of those idyosincrasies and end up making some of the best movies ever.

One rarely gets a chance to see a Greek film in Greece, never mind the United States! So, when I found out that the Harvard Film Archive was showing "Kinetta" as part of a new European film series, I ran to see it. The fact that it was in the International Competition section of the 2005 Thessaloniki Film Festival gave me some assurance that it would it be a good film.

Was I wrong! The film opened with a silent montage of scenes that was bewildering. The few of us that were in the audience wondered whether there was a problem with the sound system. There was no problem with the sound system, but it was emblematic of what was wrong with the film. From the soundtrack to the jerky hand-held camera work, there seemed to be no justification for Giorgos Lanthimo's choices. It all seemed to be part of an intellectual exercise that repelled the viewer, rather than draw him in to the drama that was unfolding in front of him. Well, if repelling the viewer was Lanthimo's purpose, he was certainly successful! After 10 minutes, I wanted to walk out, but my masochism kept me in my seat for another 30 minutes. Finally, I gave up on the film and left. Another 50 minutes of watching it would have been unbearable. I was sorry not to have been the first to walk out; several others of the dozen or so in the audience preceded me.

While I was trying to give the film a chance to draw me in, I was thinking that in some way it was quite accurate in its depiction of how drab and meaningless life in Greece can be these days. But, it made that point within the first 20 minutes or so. The rest of the film lacked any artistic merit.

Michelangelo Antonioni said in an interview some years ago, that a filmmaker should not be concerned for the entertainment value of his films or be concerned of what the audience will think. I agree with Antonioni, but Lanthimos is definitely not an Antonioni!