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Homing in on one of the key Spanish titles which could move the box office needle, Film Factory Ent. has jumped on worldwide sales rights to multifaceted romantic tragicomedy “Always Winter” (“Siempre es invierno”) the latest movie from David Trueba, a consummate film director and journalist and celebrated novelist hailed by France’s Le Figaro as the “wonder boy of the Iberian cultural scene.”

Film Factory has also shared in exclusivity with Variety a first-look still from the film.

First presented at September’s San Sebastian, “Always Winter” reunites Film Factory with Trueba, actor David Verdaguer and Ikiru Films, Atresmedia Cine and La Terraza Films, sales agent, co-writer and director, star and producers of 2023’s “Jokes & Cigarettes,” which broke out to an appreciable €891,991 at Spanish theaters. Verdaguer, the lead in “Always Winter,” went on to win the 2024 Spanish Academy best actor Goya for his performance in “Jokes & Cigarettes.

Eternity and a Day: Scott Rehashes the Dying Embers of an Empire

“The movie doesn’t have to be great; it can be stupid and empty and you can still have the joy of a good performance, or the joy in just a good line,” wrote Pauline Kale in her 1969 essay “Trash, Art, and the Movies.” The endlessly quotable, controversial prose of Kael might as well be an underwhelming way to describe Ridley Scott’s Gladiator II, the long-awaited sequel to his celebrated Best Picture winner Gladiator (2000), a film which resuscitated the auteur’s lengthy slump through the 1990s and set him on a perennial course of (mostly) highly anticipated projects for the past twenty-four years.…...

When Martin Scorsese premieres his latest film, “Killers of the Flower Moon”, at the Cannes Film Festival on May 20, it will return Scorsese to a festival where he remains a key part of its fabled history.

Scorsese premiered his masterpiece of urban alienation, “Taxi Driver”, in Cannes in 1976. Its debut was one of the most fevered in Cannes history, drawing boos and some walkouts for the violence in Scorsese’s tale of the disillusioned New York cab driver Travis Bickle (Robert De Niro). The playwright Tennessee Williams, then the jury president, condemned the film.

“Films should not take a voluptuous pleasure in spilling blood and lingering on terrible cruelties as though one were at a Roman circus,” Williams said.

Read More: Scorsese’s Long-Awaited ‘Killers Of The Flower Moon’ To Premiere At Cannes In May

Yet “Taxi Driver” nevertheless won Cannes’ top honour, the Palme d’Or. Having heard of Williams’ disapproval,...

Marty is headed to the French Riviera! The Cannes Film Festival, reports Deadline, has confirmed that Martin Scorsese’s ‘Killers of The Flower Moon’ will get its world premiere on the Croisette on Saturday, May 20, in the Grand Theatre Lumiere.

One of this year’s most anticipated movies, the Apple charge has been long considered a likely Cannes contender, reports Deadline.

The film will play in Official Selection, but it’s not clear yet whether it will be in Competition — that will become clear at the festival’s press conference in mid-April. Treading the red carpet will be Scorsese, Leonardo DiCaprio, Robert De Niro, Lily Gladstone, Jesse Plemons, Cara Jade Myers, JaNae Collins, Jillian Dion and Tantoo Cardinal.

As per Deadline, ‘Killers of the Flower Moon’, which is based on David Grann’s best-selling book and written for the screen by Eric Roth and Scorsese, is set in 1920s Oklahoma...

Martin Scorsese’s “Killers of the Flower Moon,” the upcoming feature film starring Leonardo DiCaprio and Robert De Niro, will officially premiere at the 76th Festival de Cannes.

The May 20 debut of the Apple Original Film, which will premiere in the Grand Théâtre Lumière, will mark the Oscar-winning filmmaker’s return to to the festival after nearly 40 years, when he screening “After Hours” in 1986. Beyond Cannes, “Killers of the Flower Moon” will open in select cities on Oct. 6 before expanding nationwide on Oct. 20 ahead of a release on Apple TV+.

Paramount will be a distribution partner on the film, which stars Leonardo DiCaprio and Lily Gladstone and tells the story of the murders of multiple Osage people in Oklahoma in the 1920s after oil was discovered on tribal land. DiCaprio plays Ernest Burkhart, nephew of the murderous cattle tycoon William Hale, who is played by Robert De Niro. The feature...

The Cannes Film Festival has this morning confirmed that Martin Scorsese’s Killers of The Flower Moon will get its world premiere on the Croisette on Saturday, May 20 in the Grand Théâtre Lumière.

One of this year’s most anticipated movies, the Apple charge has been long considered a likely Cannes contender. The pic will play in Official Selection but it’s not clear yet whether it will play in Competition — that will become clear at the festival’s press conference in mid-April.

Treading the red carpet will be Scorsese, Leonardo DiCaprio, Robert De Niro, Lily Gladstone, Jesse Plemons, Cara Jade Myers, JaNae Collins, Jillian Dion, Tantoo Cardinal, and more.

Based on David Grann’s best-selling book and written for the screen by Eric Roth and Scorsese, Killers of the Flower Moon...

Film will screen on Saturday, May 20 in the Grand Théâtre Lumière.

Martin Scorsese’s Killers Of The Flower Moon has been confirmed to world premiere at the 2023 Cannes Film Festival, which runs May 16-27.

The festival will roll out its famous red carpet on May 20 (the first Saturday of the event) to welcome Scorsese and the Apple Original Film’s star-studded cast including Leonardo DiCaprio, Robert De Niro, Lily Gladstone, Jesse Plemons, Cara Jade Myers, JaNae Collins, Jillian Dion and Tantoo Cardinal among others.

The film will screen in the Palais’ Grand Théâtre Lumière...

The Films of Theo Angelopoulos: Landscapes of TimeFourteen films will be showing from October 13 to December 18, 2022 at the Billy Wilder Theater in Westwood with free tickets and free parking thanks to an anonymous donor to the Hammer Museum. Sponsored by UCLA’s Stavros Niarchos Foundation Center for the Study of Hellenic Culture, UCLA Center for European and Russian Studies and the Consulate General of Greece in Los Angeles, the kickoff film, ‘Landscapes in the Mist’ played to a full house.

How did all these people know Theodoros Angelopoulos? I thought he was my own private guilty pleasure, my own discovery from the days when I would spend the last day of every film festival where I was working to see a film I wanted to see, knowing I would never be able to convince my company to buy it. It was at the Thessaloniki Film Festival 1991 when I first saw an Angelopoulis film, The Suspended Step of the Stork starring Marcello Mastroianni and Jeanne Moreau. I had never seen such a film with the story only revealing its impact at the end. I had seen slow films of Antonioni (not knowing his screenwriter was the same who wrote Angelopoulos’s films), but this film was so unlike any film I had ever seen before. I barely understood what was happening until the end when story revealed the inner core of its truth. At that moment, I knew that the film had changed my life and my perceptions. This was the first in Angelopoulos’ Trilogy of Borders.

‘Suspended Step of the Stork’

As of this writing, two films have screened thus far: Landscape in the Mist (European Film Award for Best Film), the last of his Trilogy of Silence. It was followed the next week by Eternity and a Day (Palme d’Or at the 51st edition of the Cannes Film Festival), the last of his Trilogy of Borders. Having seen these two, so many questions arose for me that I knew I needed to find out more about Angelopoulos himself.

Why these trilogies? Does he always work in threes, making trilogies and why?

Why were both Eternity and a Day and Landscape in the Mist about a little boy Alexander who has no parents, and most particularly no father? Is Alexander in all his films?

What’s with the troupe of actors which keeps showing up in Landscape in the Mist and is central to The Traveling Players his Trilogy of History?

Why are there always three yellow jacketed bicycle riders in the two films I have so far seen?

Why is there always a wedding — sometimes happy, sometimes not so?

Critic Andrew Horton calls Angelopoulos’ films, “Cinema of Contemplation” which does give the context within which one derives the full impact of his stories, more through contemplation than through following a plot line which nevertheless exists. Angelopoulos believed cinema was creating a new form of universal communication. He also saw his own life as a continuation of Greek history from the beginning of time, a theme he reiterates in his films. To absorb such a large picture, one must be in a contemplative state of mind. The films provide a framework for meditation. And his end shot is more than once a line of yellow jacketed repair workers climbing telephone poles that extend beyond the horizon or riding bicycles to beyond the frame of what we see. I must see the rest of the films to know what these repairmen are doing to extend travel and communication beyond borders.

Angelopoulos views the world through the eyes of a child named Alexander who in Landscape in the Mist is about five and is traveling across Greece to Germany with his ten year old sister Voula to find the father they have never known. They recognize they are part of a story with no end. The only adult words describing their odyssey are in the bedtime story Voula tells Alexander; in the introduction to a staged play that the friend they find on the road, named Orestes, describes to them; and in the first words spoken by a singing actor as the traveling theater troupe is about to start performing the play. But, as in the bedtime story and in Orestes’ description, the play, seemingly interrupted by other events, never finishes. The story starts, “in the beginning is darkness, then comes light, then the sea and sky, then the plants and trees.” When his sister feels fear for what lies ahead, Alexander comforts her with his promise to continue telling the story that never finishes. Through the mist, they find the tree, so vaguely described by Orestes as he shows them blank frames of a 35mm piece of film he picks up and so materially there in front of them when they cross the last border to Germany. They hug its trunk in relief and renewed trust in the will of some higher order that they have arrived safely.

Landscape in the Mist is the last of the Trilogy of Silence, haunting, incisive, intimate, and deeply moving odysseys that navigate through consciousness, myth, and memory. Landscape in the Mist represents the “silence of God”. The other two parts are the “silence of history” in Voyage to Cythera (1984) and the “silence of love” in The Beekeeper [1986).

In Eternity and a Day, the child in himself, Alexander (Bruno Ganz), has become a great writer and poet who is now facing his final days of a fatal illness. Putting his affairs in order and bidding farewell to family and friends before admitting himself into the hospital where he will await death, he asks “How long is tomorrow?” and is told, it is “eternity and a day.” He finds himself paired on his last day with a child, an Albanian illegal of Greek origin who fears the future with no adult to guide him into an unknown land across the sea. The poet himself lacks to words to finish his own work let alone help the child with his fears and his own journey, but his redemption comes from a literal exchange of words through the child which allows him to transcend his life and his emotional distance.

The three words Alexander receives from the Albanian boy are korfulamu, a delicate word for the heart of a flower, a literal ‘word of comfort’ for his physical suffering. The second is xenitis, the feeling of being a stranger everywhere, including with his own beautiful wife Anna (Isabelle Renauld). and daughter. The third is argathini, meaning ‘very late at night’, a metaphor for the ‘twilight’ of his existence.

The story that never finishes is the human odyssey of migrations and crossing borders, both in lands and in our minds as we face unknown futures in landscapes we do not recognize as our own. Angelopoulos’ reality unfolds through the prism of his memories. And he counts himself lucky to have lived consciously within the context of history. His memories are a continuation of the long history of Greece. He was born in 1935 the year before King George II of Greece returned to Rome with his Prime Minister Metaxas who, with the agreement of the king, suspended the parliament and established the quasi-fascist Metaxas regime. He lived through World War II, the subsequent Civil War, and the military dictatorship of 1967–1974.

He sees his films not as psychological studies of characters but as characters’ personal lives within a historical context, of “finding one’s own history within the history of a place.” He considers his political films quite different from those of Costa Gavras’ whose he calls bourgeois.

Starting with The Iliad, The Odyssey, and later the concluding Aeneid, continuing with the classic tretralogies, cycles of three plays by the great playwrights Aeschylus, Sophocles and Euripides, Angelopoulis likewise writes in trilogies, three tragedies intended to be seen in one sitting, but way too long for most of us modern westerners. The trilogies of Angelopoulos would have greater impact if we could see them sequentially, even if not in one sitting. But the programmers did not see it that way and so we must see each film (which stands on its own) interspersed in what seems to be a random order. Even so, the themes intertwine seamlessly creating a textile of modern Greek myth, thought and insight.

Angelopoulos created Days of ’36 in 1972. It is the first film of what would become his self-described Trilogy of History that also includes The Traveling Players (1975) and Alexander the Great (1980) with an epilogue of The Hunters (1977). (The Greek plays also had epilogues.) That he made the first two films in Greece during the dictatorship required an “imposed silence” and indeed, that is the prevalent element in Days of ’36, the story of the country’s ruling leisure class suppressing the fight of leftist labor. The film begins with the assassination of a labor organizer and ends with a mafiosa-type last word of the ruling class which needs stability at any cost.

In The Traveling Players, Senses of Cinema writes:

It is interesting to note that Angelopoulos uses members of an otherwise anonymous cast of marginalized traveling players as conveyers of contemporary Greek history …: Agamemnon (Stratos Pachis) traces his immigration from Asia Minor to Greece (a reminder of the country’s historically borderless, ethnically diverse population that can be traced back to the Ottoman Empire), Electra (Eva Kotamanidou) chronicles the start of the Civil War after the defeat of the Germans in 1944, and Pylades (Kiriakos Katrivanos) provides a personal account of the torture of political prisoners. In essence, by using the testament of people who are literally transient and homeless (and without identity), Angelopoulos creates a powerful analogy for all Greek people as displaced exiles within their own country.

Again, from Senses of Cinema:

Angelopoulos returned to the theme of the nation’s historically organic, cross-cultural migration in The Travelling Players to examine the the refugee’s resigned sentiment, “We’ve crossed the border and we’re still here. How many borders must we cross to reach home?”, carries through to the makeshift, outdoor cinema in Angelopoulos’ next film, Ulysses’ Gaze, as A arrives for an unauthorized screening of his film. Like the adrift Spyros in The Beekeeper, A’s devastating emotional odyssey through his ancestral homeland is also a personal journey to reconnect with his cultural past, striving to recapture the purity of human vision that has been tainted by romantic loss, artistic controversy, familial estrangement, ideological disillusionment, and the ravages of war.

Regarding the written words of the scripts, Angelopoulos consistently worked with the Italian screenwriter Tonino Guerra, who also frequently collaborated with such celebrated directors as Federico Fellini, Michaelangelo Antonioni (he wrote all of his movies’ scripts) and Francesco Rossi. Guerra consulted on The Dust of Time, cowrote The Weeping Meadow, Eternity and a Day, Ulysses’ Gaze, and wrote The Suspended Step of the Stork, Landscape in the Mist, The Beekeeper and Voyage to Cythera.

Angelopoulos also collaborated regularly with the cinematographer Giorgos Arvanitis and the composer Eleni Karaindrou, both of whom are essential to his works’ impact.

One of the recurring themes of his work is immigration, the flight from homeland and the return, as well as the history of 20th century Greece. Angelopoulos was considered by British film critics Derek Malcolm and David Thomson to be one of the world’s greatest directors.

Angelopoulos died late 24 January 2012, several hours after being involved in an crash while shooting the last film of his latest trilogy on modern Greece, The Other Sea in Athens. On that evening, the filmmaker had been with his crew in the area of Drapetsona, near Piraeus when he was hit by a motorcycle ridden by an off-duty police officer. The crash occurred when Angelopoulos, 76, attempted to cross a busy road. The first two films were The Weeping Meadow (2004)) and The Dust of Time (2008).

As his legacy lives on, it reminds those of us who contemplate time and space that our Western Civilization began when Greece’s voice was raised to express our most primal emotions in its tragedies. Angelopouos’ work, along with the oldest epic cycle and the Greek tragedies, all deal with the aftermath of world shaking wars which are the results of revenge and murder, sex and power wielded by those more powerful than even the king despots of the age, but by the gods themselves (whoever she is).

Eleni Karaindrou set to perform with the Brussels Philharmonic.

Greek composer Eleni Karaindrou is set to receive the lifetime achievement award at the 21st World Soundtrack Awards.

The ceremony is the traditional closing night event of the Film Fest Ghent (October 12-23) and is scheduled to take place as a physical event this year. It will be held at the opera house in Ghent for the first time.

Karaindrou is best known for her long-time collaboration with Greek director Theo Angelopoulos. The pair have worked together on eight films including Palme d’Or winner Eternity And A Day and Oscar nominee The Weeping Meadow.

Close-Up is a column that spotlights films now playing on Mubi. Theo Angelopoulos's Ulysses' Gaze (1995) is showing April 27 - May 27 and Landscape in the Mist (1988) is showing April 28 - May 28, 2017 in the United States.Landscape in the Mist“We Greeks are dying people. We've completed our appointed cycle. Three thousand years among broken stones and statues, and now we are dying.”—Taxi driver, Ulysses’ GazeIt seems that no essay on the films of Theodoros Angelopoulos can neglect to mention that, despite being recognized as one of cinema’s masters in Europe, he has repeatedly failed to cross over to the United States. A retrospective at the Museum of the Modern Art in 1990, a Grand Prix at Cannes Ulysses’ Gaze in 1995, a Palme d’Or for Eternity and a Day in 1998, and, most recently, a complete 35mm retrospective at the Museum of the Moving Image and Harvard Film Archive...

This is the Pure Movies review of Chevalier, directed by Athina Rachel Tsangari and starring Vangelis Mourikis, Nikos Orphanos and Yorgos Pirpassopoulos. Written by Dr. Garth Twa. Greece is renowned for many things: it is the land of myth, of Dionysian revels, of octopuses hung like pantyhose on clotheslines to dry. It is the land of our first storytelling, birthplace of epics, of comedies, of tragedies; but not, until now, cinematic stories. As a film industry, there hasn’t been much to talk about except, of course, the exceptions, like Theodoros Angelopolous (Ulysses’ Gaze, 1995, Eternity and a Day, 1998—both won big at Cannes) and Costa-Gavras, who, really, made American movies, like Missing (1982) with Jack Lemmon, or Mad City (1997) with John Travolta, or French movies like Z (1969). ‘Greek’ films like Never On a Sunday (Jules Dassin, 1960) and Zorba the Greek (Michael Cacoyannis, 1964) were Greek fetishisation made palatable to tourists by having non-Greek lead actors being swarthy.

Theodoros AngelopoulosSo consistent was the vision of Theodoros Angelopoulos that nearly any of his films could stand as a leading representative work. When viewing all 13 of his features within a condensed period of time—an extraordinary opportunity to be offered by New York's Museum of the Moving Image July 8 - 24—one sees just how exceptional Angelopoulos’ filmography is, and how each title is an emblematic entry in the late Greek director’s catalog of persistent themes, tonal frequencies, plot points, and, perhaps most indelibly, sheer visual boldness.Landscape in the Mist (1988)IMAGESIt is in this last regard that Angelopoulos instantly and emphatically impresses. His cinema is punctuated by a remarkable succession of single images that linger long after the film has concluded, often retaining in the viewer’s consciousness more than an overall story or specific characters. Silhouetted bodies on a fog-shrouded border fence in Eternity and a Day (1998); a...

Filmmaker Theo Angelopoulos was one of the most widely acclaimed international art film directors of the 20th century, specializing in poetic, political films about contemporary Greece. Now, the Museum of Moving Image in New York will run a complete retrospective of Angelopoulos’ career, the first of its kind in the United States in 25 years. See the trailer for the series below.

Read More: NYC: Sidney Poitier Retrospective at Museum of the Moving Image Kicks Off This Weekend (April 9-17)

Chief Curator David Schwartz says that “as a new generation of Greek filmmakers, including Yorgos Lanthimos and Athina Rachel Tsangari, have reached international prominence, the time is ripe to see Angelopoulos anew, as cinema that reflects on the past while foretelling the turbulent world we are now living in.”

Some of the film in the series include his 1986 breakthrough work “Landscape in the Mist,” about two siblings traveling on their own...

Eternity and a Day: Jim Jarmusch’s Vampire Flick Is Typically Jarmuschian

After his droll yet audience-friendly quirkfest Broken Flowers took home the Grand Prix at Cannes ’05 hit, Jim Jarmusch returns to the Croisette (after his sharply divisive The Limits of Control eluded the festival circuit) with another quintessentially Jarmuschian affair – this time about vampires. Typically shapeless, loquacious, and deeply concerned with artifacts of yester-generations’ hip kids (viz., wicked guitars and an eclectic record collection), this notably un-horrific take on the genre comes on the heels of Amy Heckerling’s under-appreciated comedy Vamps to form a unique diptych of films more concerned with certain basic ideas of immortality than in generating jump scares.

Featuring a pair of rather sophisticated undead named Adam and Eve (Tim Hiddleston and Tilda Swinton), the Detroit-set Only Lovers Left Alive is propelled, ever so deliberately, by the two leads’ recollections and souvenirs, their personal...

Animator/illustrator Simone Massi's poster for the 70th Venice International Film Festival, which is held at the Lido from August 28 to September 7, is inspired by the cinema of Theo Angelopoulos and Federico Fellini. The festival is directed by Alberto Barbera and organized by the Biennale di Venezia, chaired by Paolo Baratta. Massi's poster recalls a frame from Angelopoulos' "Eternity and a Day" (1998), starring Bruno Ganz, as a man seen from behind waves his arms at a boat which, in the distance, is carrying a child and a rhinoceros. The image also makes a tongue-in-cheek reference to last year’s poster (which was inspired by Federico Fellini’s 1983 film, "And the Ship Sails On") and thus marks both continuity and a break with the past. Once again, the coordinated visual identity and image of the Venice Film Festival were given to Milan's Studio Graph.X, based on the drawings by Massi.

"Tonino Guerra, the poet and screenwriter from Emilia-Romagna who has worked with so many directors, died this morning," reports Camillo de Marco at Cineuropa. "He had turned 92 on March 16."

Even the honed-down list at Wikipedia of directors for whom Guerra wrote is rather astounding: "Michelangelo Antonioni with L'avventura, La notte, L'eclisse, Red Desert, Blow-Up, Zabriskie Point and Identification of a Woman, Federico Fellini with Amarcord, Theo Angelopoulos with Landscape in the Mist, Eternity and a Day and The Weeping Meadow, Andrei Tarkovsky with Nostalghia and Francesco Rosi with the militant politics of The Mattei Affair, Lucky Luciano and Illustrious Corpses."

All in all, he wrote more than 100 screenplays, was nominated for an Oscar three times (for Casanova '70, Blow-Up and Amarcord), won Best Screenplay at Cannes (for Angelopoulos's Voyage to Cythera) and the Pietro Bianchi Award at Venice, among many other prizes.

The Golden Apricot Film Festival Board has issued...

Screenwriter and poet who co-scripted films with Fellini, Antonioni and Tarkovsky

The Italian poet, novelist and screenwriter Tonino Guerra, who has died aged 92, brought something of his own poetic world to the outstanding films he co-scripted with, among others, Federico Fellini, Michelangelo Antonioni and Francesco Rosi, but also many non-Italian directors including Theo Angelopoulos and Andrei Tarkovsky. Perhaps his most creative contribution was to Fellini's colourful account of life in a small coastal town in the 1930s, Amarcord (1973), of which he was truly co-author, because the film reflected their common experiences growing up in Romagna.

The two were born in the region a couple of months apart – Fellini in Rimini and Guerra in Santarcangelo, in the hills above the Adriatic resort, the son of a street vendor father.

Guerra's own "amarcord" ("I remember" in dialect) is scattered over many books of poetry and short stories. He first started writing...

Three stories vied for our attention as the Oscar nominations were announced, Spike Lee stormed Sundance and director Theo Angelopoulos died

The big storiesOscar nominations

The glitz! The glamour! The gradual realisation that, as much as you wanted your small-time favourite (Melancholia / Drive / Take Shelter) to win, you can't fight the inevitable! Yes - it's Oscar time again. The nominations were announced this week, with Martin Scorsese's Hugo narrowly pipping The Artist with 11 nods to the silent wonder's 10. We live-blogged the announcement, explained why we think Michel Hazanavicius's film will still win big come February and griped about those that were left out. Join us on 26 February for an all-night bonanza of gowns and gongs, back-slapping and blubbering. It will be just like being in La. But with cynicism.

Sundance film festival

Park City's received its annual influx of film-makers as the Sundance film festival rolled into action.

Film director with a magisterial style who excelled at historical and political allegories

The Greek film director Theo Angelopoulos, who has died aged 76 in a road accident, was an epic poet of the cinema, creating allegories of 20th-century Greek history and politics. He redefined the slow pan, the long take and tracking shots, of which he was a master. His stately, magisterial style and languidly unfolding narratives require some (ultimately rewarding) effort on the part of the spectator. "The sequence shot offers, as far as I'm concerned, much more freedom," Angelopoulos explained. "By refusing to cut in the middle, I invite the spectator to better analyse the image I show him, and to focus, time and again, on the elements that he feels are the most significant in it."

Angelopoulos was born in Athens, where he studied law. After military service, he went to Paris to attend the Sorbonne but...

Theo Angelopoulos was killed after being hit by a motorcycle near Athens' main port of Piraeus. He was 76.

Angelopoulos was crossing a road near the set of his movie "The Other Sea," when he was hit by a motorcyclist -- who survived the crash.

The director, whose career spanned 40 years, won numerous awards for his movies. In 1995, he took the Grand Jury Prize at Cannes Film Festival for "Ulysses' Gaze." Three years later, he won...

Greek director Theo Angelopoulos has died in a road accident aged 76. Here we look back at his body of work, which included The Travelling Players, Ulysses Gaze and Landscape in the Mist

The Travelling Players (1975)

Theo Angelopoulos's breakthrough film is a political allegory in disguise; a leftist analysis of democracy, fascism and national identity, shrewdly gussied up as the tale of a theatre tour through the Greek provinces and shot under the noses of the country's military junta. Rigorous, spartan, and yet brimming over with pungent mythic allusions, The Travelling Players established its creator as one of the most distinctive European directors of his generation.

Landscape in the Mist (1988)

The director hit the road again with this stark, soulful tale of two runaways in search of their missing father. The way ahead leads through misty towns and snowy wilderness, while the early social-realist air tilts, by degrees, towards surrealism.

Incompleteness was a recurrent theme for a film-maker who thought closure out of reach, always searching for the lost idyll of a nation torn apart by the 20th century

Theo Angelopoulos has been killed in a traffic accident while crossing a busy street in the middle of filming. This very fact has an enormous irony and poignancy: so much of his work is about the unfinished story, the unfinished journey, the unfinished life, and the realisation that to be unfinished is itself part of the human mystery and an essential human birthright and burden. This was part of what he conveyed to audiences, in a cinematic style that was poetry and epic poetry, steeped in the tumult of Greek history from the time of the second world war, and yet his movies were anything but frenzied or dramatic. They addressed not history's surface action but its spiritual causes and effects; he created long,...

Celebrated director was shooting new film The Other Sea when he was hit by a motorcycle, sustaining serious head injuries

Multi-award-winning Greek film-maker Theo Angelopoulos died last night, aged 76, after a road accident in the port town of Piraeus, just outside Athens. Angelopoulos was working on a new film, The Other Sea, when he was hit by a motorcycle and sustained serious head injuries. He died later in hospital.

The Other Sea, which was to star Italian actor Toni Servillo (The Consequences of Love), was Angelopoulos's first film since 2008's The Dust of Time, and was a study of the political and social turmoil currently affecting Greece. In this it was in keeping with his previous oeuvre, which was marked by an engagement with Greece's turbulent 20th-century history, along with its complex, dreamlike imagery.

Angelopoulos first made his name internationally with the 1975 film The Travelling Players, made during the colonels' military rule but released after.

Renowned Greek director Theo Angelopoulos passed away in a road accident on Tuesday while shooting for his latest film The Other Sea. He was 76.

Angelopoulos was working in Piraeus, a port city close to Athens when he met with an accident while shooting exterior sequences.

He started his filmmaking career with Reconstruction in 1970 and then went on to make a series of political feature films about modern Greece: Days of ’36 (Meres Tou 36, 1972), The Travelling Players (O Thiassos, 1975) and The Hunters (I Kynighoi, 1977). He was known for his distinct style marked by slow, episodic and ambiguous narrative structures as well as long takes.

His won the Grand Jury prize at Cannes Film Festival for Ulysses’ Gaze (1995) and Palme d’Or for Eternity and a Day (1998).

He was honored at the 11th Mumbai Film Festival in 2009.

Athens, Greece -- Theo Angelopoulos, an award-winning Greek filmmaker known for his slow and dreamlike style as a director, was killed in a road accident Tuesday while working on his latest movie. He was 76.

Police and hospital officials said Angelopoulos suffered serious head injuries and died at a hospital after being hit by a motorcycle while walking across a road close to a movie set near Athens' main port of Piraeus.

The driver, also injured and hospitalized, was later identified as an off-duty police officer.

The accident occurred while Angelopoulos was working on his upcoming movie "The Other Sea."

Angelopoulos had won numerous awards for his movies, mostly at European film festivals, during a career that spanned more than 40 years.

In 1995, he won the Grand Jury Prize at the Cannes Film Festival for "Ulysses' Gaze," starring American actor Harvey Keitel.

Three years later, he won the main prize at the festival,...

Greek filmmaker Theo Angelopoulos has died aged 76. The Athens-born director was killed in a road accident in the port city of Pireas. Angelopoulos was in the middle of shooting his new film, The Other Sea, with Italian actor Toni Servillo (Il Divo) when the accident happened. It was to be his first film since 2008's The Dust of Time.The director took the path less travelled to the big screen. Initially a law student in Athens, he headed to Paris to study literature at the Sorbonne before making plans to attend Paris's prestigious School of Cinema. Instead, he returned to Greece and worked as a journalist and critic until his paper was banned by the ruling junta. It was then that he turned to filmmaking, making a politically-charged trilogy that spanned Greek history from 1930 to 1970. It included acclaimed drama The Travelling Players (1975), which won him notice overseas and laid the foundations for a well-respected filmography.

Legendary Greek filmmaker Theodoros Angelopoulos has died after suffering serious injuries in a road accident on Tuesday.

The director, 76, was crossing a road in Athens when he was knocked over by a motorcyclist. He sustained severe head injuries and died in a nearby hospital.

Angelopoulos began his career in 1968 and he enjoyed success as a director, producer and screenwriter for more than four decades.

He became known for his work on political Greek films Days of '36, The Hunters and The Travelling Players, which landed him a string of European awards including Best Film of the Year by the British Film Institute.

His other works include Voyage to Cythera, Ulysses' Gaze and Landscape in the Mist, which scored him the Silver Lion Award for Best Director at 1988's Venice Film Festival in Italy. A decade later, Angelopoulos won the prestigious Palme d'Or award at the Cannes Film Festival for Eternity and a Day.

To Vlemma Tou Odyssea / Ulysses' Gaze (1995) Direction: Theo Angelopoulos Cast: Harvey Keitel, Erland Josephson, Maia Morgenstern, Thanasis Vengos, Giorgos Mihalakopoulos Screenplay: Theo Angelopoulos, Tonino Guerra, Petros Markaris, Giorgio Silvagni Harvey Keitel, Ulysses' Gaze Greek filmmaker Theo Angelopoulos' 1995 effort To Vlemma tou Odyssea / Ulysses' Gaze is the first of that director's four films that I have seen that is not unequivocally a great work of art. Although there are arguments that can be made in favor of that claim, the film's 173-minute running time is much too long, especially considering that Ulysses' Gaze is the least poetic of the aforementioned four films. (For the record, the others are Landscape in the Mist, Eternity and a Day, and Trilogy: The Weeping Meadow.) Of course, I'm not saying that Ulysses' Gaze is a bad film or that it lacks Angelopoulos' trademark visual poesy. On the other hand, the film lacks several important...

Just ten days ago, we were pointing to an interview in which a lively-sounding Theo Angelopoulos was telling David Jenkins in Sight & Sound about his plans for his next film, The Other Sea. Now word comes via, among others, Kevin Jagernauth at the Playlist that the 77-year-old filmmaker was struck by a motorcycle near the set not far from Athens' main port of Piraeus and has died of his injuries. At the moment, the AP has only a few other details on the accident.

Acquarello in Senses of Cinema in 2003: "From the absence of the conventional word 'End' at the conclusion of his films to his penchant for interweaving variations of episodes from his earlier films (which, in turn, are often culled from personal experience) to create interconnected 'chapters' of a continuous, unfinished work, Angelopoulos's cinema is both intimately autobiographical and culturally allegorical and, like the children of Landscape...

Greek filmmaker Theo Angelopoulos died earlier today at a hospital near Athens. Angelopoulos had suffered serious head injuries after being hit by a motorcycle while crossing a road. He was 76. [Addendum: Angelopoulos died while filming The Other Sea, the third installment in a trilogy initiated with The Weeping Meadow and The Dust of Time (see below).] Known for his deliberately paced, dreamlike films, Angelopoulos and his movies won a number of awards from critics and at film festivals around the world. In 1995, for instance, Angelopoulos' Ulysses' Gaze won the Grand Jury Prize at the Cannes Film Festival. Upon receiving his runner-up award, a none-too-pleased Angelopoulos' told those in attendance: "If this is what you have to give me, I have nothing to say." He then walked off without bothering to pose for photographers. Having learned their lesson, three years later Cannes' jurors gave Angelopoulos' the Palme d'Or for Eternity and a Day. Among Angelopoulos' other films are Voyage to Cythera,, Days of 36, The Travelling Players, and the slow-moving but unbelievably beautiful Landscape in the Mist.

Dariush Mehrjui

4th Bengaluru International Film Festival (Biffes) that will commence on December 15 will hold a special Retrospective of Iran’s Dariush Mehrjui, who is the guest of honour at the festival. The retrospective will include The Lodgers, Sara, The Pear Tree and The Music Man.

Biffes has announced a competition section for the first time and received about 40 entries. The films in competition include When We Leave by Feo Aladag, Invisible by Michal Aviad, Apartment in Athens by Ruggero Dipaola and Lucky by Avie Luthra among others.

There will be a Retrospective of Michael Cacoyannis of Greece featuring Our Last Spring, The Trojan Woman, Iphigenia, The Cherry Orchard and Sweet Country.

Theodoros Angelopoulos Retrospective comprises Landscape in the Mist, Eternity and a Day and The Weeping Meadow.

Taiwanese director Hsiao-hsien Hou’s Retrospective comprises Cafe Lumiere, Goodbye South Goodbye, Good Men Good Women, A Summer at Grandpa and Daughter of the Nile.

Best known for his now viral performance as Hitler in the brilliant Oliver Hirschbiegel film, Downfall, actor Bruno Ganz is finally about to get his day in the spotlight, thanks to the European Film Academy.

According to Anne Thompson, the actor, and star of the wonderful Wim Wenders film, Wings Of Desire, will be given a special award at the European Film Awards, when they take place on December 4.

Personally, this has been a long time coming, and something that is more than deserved. Continuing to work today in films like The Reader, the actor has a marvelous filmography, particularly the Criterion staple Wings, a powerful and visually striking film, that features a performance from Ganz that is so haunting, that it is easily one of the best that I’ve ever seen. If you haven’t given the film a chance, Wings Of Desire is an absolute must own,...

COLOGNE, Germany -- German independent film firm Kinowelt has acquired art house distributor/producer Pegasos Filmverleih, the companies said Tuesday.

The deal gives Kinowelt the rights to the more than 80 feature films in the Pegasos library.

Titles in the library include 1998 Palme d'Or winner Eternity and a Day from Greek director Theo Angelopoulos, Emir Kusturica's Super 8 Stories and Christian Petzold's terrorist drama The State I Am In.

Of particular interest to Kinowelt are the documentaries in Pegasos' archives, including Ulrich Koch's Aesshaek, Tales From the Sahara and Darshan the Embrace from Dutch helmer Jan Kounen.

Leipzig-based Kinowelt said it sees potential in Pegasos because a majority of its films have not yet been released on DVD. Kinowelt plans to rectify this, bringing out Pegasos' titles on its Arthaus label.

Previously released films will, starting in March, be handled by Kinowelt's flagship brand, Kinowelt Home Entertainment, the company said. Good Movies was the firm's previous release partner.

Kinowelt's theatrical arm, Kinowelt Filmverleih, will take over distribution of Pegasos films beginning in January.

Pegasos founders Ernst Szebedits and Karl Baumgartner will remain with the company as consultants. Financial terms of the deal were not announced.

Kinowelt has been breaking records in German theaters in recent weeks with the documentary Deutschland. Ein Sommermaerchen (Germany. A Summer Fairytale) about the German soccer team's journey from preparations to winning third place in this summer's soccer World Cup in Germany. The film has won its third straight weekend at the boxoffice and passed the 2.7 million ticket sales mark. This has made it the country's most successful documentary ever, beating the 1.45 million viewers that March of the Penguins attracted.

Georg Szalai in New York contributed to this report....