Città nuda

Part Greek, part American pop culture, part Russian, part Basketball Diaries, part Fassbinder, part pity the poor prostitute.

If it were not so incoherent (or is it deliberately so?) there is much to be admired here. This is a classy film in many ways, not the least of which is how it zeroes in on urban teen disorientation in the midst of contemporary Western affluence, combining a sharp contrast between rustic origins of an immigrant underclass and trendy cosmopolitan lifestyles. And the main characters are as compelling as those of a big budget film, in no way suggesting their non-professional origins. There is likewise an unrelenting effort to reflect the way these kids actually talk to each other and think.

But it bites off way too much in trying to include something for everyone in its audience. A little coke snorting here, a little skin there, some inchoate gayness along the way, some obvious symbolism, even a taking-a-girl-home-to-meet-the-folks number (that backfires predictably). The overall effect is close to that of a television documentary rather than a dramatic story line. Something may be lost by relying on English subtitles, but for anyone unfamiliar with Russian or Greek there is no option.

Worth a look.

it seems to me that "from the edge of the city" is that type of film which is bound the audience to think.yeah,the movie is complex to understand but i admit that it is really a brilliant movie.

the plot of the film concerns with those people who are Greek-Russians bound to leave their country for former soviet-union in Stalin era. after the demise of the soviet-union they came back to Athens and try to mix with the mainstream society.

the movie tells the story about those third generation young people,the Greek-Russian teenage who are trying to live in this Greek society.we know their way of living through an interview of one teenage named "sasha" who tells us how they use drugs, how they sell their body, their relatinons with their families and their views to the society.

this movie seems to one type of documentary movie about modern Greek tragedy.

it is definitely not a movie for all audience but i like that film.

i would like to rate this movie: 8 out of 10.

The fact that the director selected mostly street kids for this film, as in _Salaam Bombay_, definitely gives it an edge. Regardless of the viewers' sexual orientation, who the prostitutes have sex with is irrelevant, as the core of the matter is why they get into and stay in prostitution, why they do drugs, and how the cycle perpetuates itself. The demise of the Soviet Union had some rather negative consequences, such as the impoverishment of former Soviet nations and the subsequent diaspora of many of their nationals. Such is the story of ethnic Greek Khazahkstani expatriates. The story is set in Athens, but it could just as well be set in London, New York, Chicago, you name it. The tale is universal. The movie is good.

...a repeated comment from one of the interviewees in this strange little film from Greek writer/director Constantine Giannaris. Struggling somewhere between a docudrama and a ethnic drama, FROM THE EDGE OF THE CITY is written and filmed with gritty realism techniques that in the end adds some charm to an otherwise meandering movie.

During the Soviet Union era Greek Khazahkstani expatriates fled to Athens, Greece where they attempt to fit in to the Greek culture and society. But as with most immigrant groups there are challenges to face in trying to find their niche on the outskirts of a major city. The little town where they live is called Menidi and while the adults have learned Greek and found jobs, a group of teenagers who speak a mixture of Russian and Greek want the good things of life found in Athens yet waste away their own lives on roller-blading, petty crimes, cruising, drugs, male prostitution, and sexual and criminal exploitation by the wealthy Greeks: they want the good life without working for it.

The focal person of the film is Sasha (Stathis Papadopoulos) - the one who refers to himself as Rosa Ponds in interview. As with the rest of the cast he is a beautiful young man with many conflicts who seems to be seeking his identity. He and his friends move from drugs to petty crime to criminal involvement with prostitution (of both gay and straight forms). There are many subplots that could use more definition as the film tends to meander about the streets without direction. The boys become involved as both victims and perpetrators of abusive behavior, yet there is something in the nature of Sasha that makes us hope his life will even out.

Giannaris worked with street kids with no prior acting experience, a fact the gives a true sense of verismo to the film. Both the men and women involved are eye candy and while this film is being marketed as a gay movie, there is very little content to rank it as such - as though the Greek homophobia would not condone a popular movie to dwell on that subject.Nice eye candy for everyone, but not a lot of substance. Keep your expectations low and the movie will satisfy as a study of the problems of immigrants on the periphery of big cities around the world. Grady Harp

Self-consciously hip Wasted-Youth genre piece, the usual downward spiral of sex, petty crime, and drugs, done much better, and less pretentiously, by innumerable American Black ghetto films, here set in and around Athens among a group of transplanted Pontic Kazakhstani teens. The lads hustle their bodies, flirt with but never openly embrace homosexuality, to pay for drugs, living from one score and wad of cash to the next. Of course, the film exacts retribution so that a bad end awaits all, either in the form of arrest, severe injury, or death.

The film succumbs to the pointlessness of its subject matter; there's nothing particularly profound, compelling, or even remotely sympathetic about its cast of bored, directionless, and none-too-bright loafers who do nothing but selfishly chase after money and pleasure, unscrupulously screwing each other over to fulfill the pettiest of desires. There are no big dreams, no big hearts, nothing much gained or lost.

The film tries to make up for lack of content with self-conscious flourishes of style, relying heavy-handedly on a trendy soundtrack of techno-house and dilute hip-hop, fast-forwarding the frame rate, fooling around with aperture settings, conducting mock interviews with the main protagonist for a pseudodocumentary effect, and even at one point resorting to a totally gratuitous quote from Goddard's Contempt.

It seems Europeans are now fashioning their version of a very old American genre, the lower-class-self-destruct-coming-of-age story. Except for the empty stylistic intrusions, there is hardly any difference between this movie and Erick Zonka's Le Petit Voleur (The Little Thief, '99). By an odd coincidence--talk about unoriginality--the wayward boys of both find their first criminal employment by baby-sitting a whore, both even going so far as to disastrously double-cross their pimp bosses.

Not that the Americans aren't busy recycling this same old trash: try Requiem for a Dream.

It seems a huge rift has opened up in film between mainstream morality, on the one hand, and underworld noirish voyeurism, on the other. One can either go see a squeaky-clean, soft-core, Cellophane-wrapped, light-hearted goodie like Charlie's Angels, or a dark, damaged, doomed (increasingly imported) perversion like this. Talk about specialized, fractionalized markets.