Attenberg

Athina Rachel Tsangari's "Attenberg" doesn't present the most positive image of Greece. The focus is a pair of friends in a mining town. The main girl is watching her father die, and her only real pleasure is watching David Attenborough's wildlife documentaries, in addition to the sex education given to her by her friend.

The movie itself was pretty slow and seemed to have little other purpose except to show these girls in a grim existence. But at the same time it gives one a sense of life in the Hellenic Republic. Once the land that gave the world philosophy, it's now the Third World of Europe. The historic sites are surrounded by crumbling sidewalks and people missing teeth. It's no accident that Greece has been probably the single country most affected by Europe's economic mess. As the main girl's father puts it: "We went from sheep to bulldozers."

Anyway, it's not any kind of great movie, but it does give one an idea of the status quo in Greece.

According to one of the main characters, Greece is a country which has moved from keeping sheep to IT, without passing industrialism. And this is not the Greece you see in postcards. It's post modernism in an ugly shape, the remains of an overrated 20th century.

One of the girls here is 23 years old and has always rejected both sex and love. Her female friend is on the other hand very experienced. Their relationship is somewhat cold, although finds expression in their dancing together in a yard.

A father and architect dies, not any longer believing in his 1900s. The 23-year-old girl almost talks a relation with a man into pieces. This is a form experiment, but it's not that successful. But it very much rejects that old bad century.

This movie, despite seeming like a mess, makes a lot of sense to me.

Human existence is defined by essential contrasts. The sexual and the unsexual reflect the conflict between instinct and choice; death and life, the transience that gives meaning to the present.

Human existence is marked by contrasts that define and challenge us. Between the sexual and the unsexual lies the dilemma of creation and restraint, of desire and renunciation. What is instinctive clashes with what is chosen, revealing the boundaries and freedoms of our being.

Wisdom is the discernment that illuminates ignorance, while knowledge and the unknown coexist, reminding us of our limits. Finally, the rational and the animal find balance, uniting reason and instinct, showing that to be human is to embrace these dualities.

Very, very good!

It's weird, it's fresh, it's new, it's youth portrayed. I loved it, it's one of those films that stick with you even days after seeing it. It's a pretty simple plot but the interactions of Marina with her friend, her lover and specially her father are thoughtful, intimate, funny and very interesting to watch. The feeling of this movie is not to take very seriously major life events. In a way, it's a very positive, weird, original and funny movie. The intimacy achieved by the main actress it's amazing, and as much as I loved it, I understand not everyone will get it, or feel it the way I had. But to me, it was a journey whom I connected deeply with. The misanthropic and weird nature, but also positivity and amazingness of Marina captivated me. I'm very grateful I had the opportunity to watch it through MUBI. Plus! the soundtrack fu*king rocks, I love the band Suicide. It's a greek gem, and it certainly has become one of my favorites.

What a film, I adored this feature. For its bravery, uniqueness and willingness to be something different, in almost every aspect.

Directed by Athina Rachel Tsangari, this feature was a true experience. An arthouse film from Greece, in Greek and parts in French plus a dash of English, it had such a character, and tone which shone through the screen with such confidence and clarity. The direction is masterful, guiding the four main performances to every beat, it doesn't feel overlong or cringed, it is sublime, and pure.

The main performance by Ariane Labed was perfect, she delivered her characters fear, inexperience, crudeness, wackiness, and curiosity with such a command, that is quiet yet enthralling. This being her first film performance, and a tough one to wrestle with, it is classful and incredible that it was delivered so well, despite the characters absurdity.

Evangelia Randou as Bella was great, she played the promiscuous character well. In particular I found for the random cuts to where Marina and Bella would walk down the pathway in the strangest ways, dancing or pouncing about, they were hilarious and truly something which lightened the somewhat heavy theme of the picture. Vangelis Mourikis as Spyros was surprisingly funny, I had though that his character would be boring, but in the end, I sympathised with him greatly and his final fate is sad, yet it is what would always of happened. Yorgos Lanthimos also appears in this film, his character is a vehicle for Marina to explore the new world which she enters, and he plays the part very well, without an ounce of amateurism as an actor, while many of his scenes are highly sexual, the narrative focuses deeply on the characters, and how much they speak during their interactions, which is funny since these are the only scenes with great deal of dialogue, which was deeply ironic and funny.

The screenplay and narrative of this film are on paper rather thin, however when played on screen; they become so full of life and so rich. The characters may seem catatonic on the facade, but if one pays attention, they become so layered. Though little is spoken throughout this feature, very much is said through body language, though sound, these are highly visual performances. And that is how the character development is delivered, and is driven by bad circumstances and poor decisions, that deliver such strong characterisation. The screenplay can'y have been very long, yet it delivers so much.

The narrative is further aided by the masterful cinematography. It is in a 1.85:1 which immediately is different and gives a larger, more juvenile looking frame, on my screen it was very engaging. In addition to this, the camera acts as as if it were a person, but always either slowly moving or sat down, it feels very natural. No shot if forced, nor extreme, it is a visceral experience. It is beautifully filmed. It was done on 35mm film, this gives it something of a timeless look, for it has nether the sharpness of 64mm film, nor the grainy and retro look of 16mm film. It is my personal favourite type of film, and seeing it used to its greatest effect, in mostly natural lighting, with natural angles, it was a sight to behold. A welcome gift for weary eyes.

On the negative side, in sone small segment towards the end of the second act, the film loses a little steam, and slows down a tad but then picks up again very quickly. Also I felt that Yorgos Lanthimos' character could have been explored a little more than what was given.

The uniqueness of this film cannot be understated. From the sheer quirkiness of certain scenes, which can go so far as pure madness, it was absolutely intoxicating and engaging. This is not a phrase I like to use, but I couldn't take my eyes off the screen, I was staring at it the whole way through, even the more disturbing and intimate scenes, this film as such character and breath of uniqueness that is just not present in so many other films. The way the natural colours look, the film, the framing, the performances and the remarkable screenplay and strong direction, overall give an interesting and ultimately fun experience, I was very glad to have seen this obscure and mostly forgotten about film, I give it a very healthy 9/10