kanenasaliosa
Joined Dec 2006
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kanenasaliosa's rating
Katy (Dimitra Matsouka) and Irene (Eleni Kastani) are two old friends, born, brought-up and currently living, in Didimoticho, a Greek town near the far North-East borders of the country. Katy is single, pretty and a hairdresser's assistant. According to the gossip of the men in town she is, as well, supposed to be promiscuous in her affairs. Irene is married to Dimitris, runs a lingerie shop and her self esteem is somehow low.
Katy has a dream: "to leave" and escape from something. Irene has a dream: to get pregnant and get Dimitris' interest back.
One day Katy persuades Irene to join a trip to Myconos. The trip is impossible but they manage to get on. On the way to south (Athens) the stories and personal experiences of the people they meet unfold in a semi-professional way, allowing life to dance with death, reality to survive the dreams and hope to prevail from pain.
The movie is shot many times assimilating an amateur camera shooting and at other times the dialogues are not following the same level and expectations of the plot. Judging though the movie as "not good" could be a defense for the painful reality; domestic violence, women's rights, closed communities, social exclusion and stigma for the weak one, social norms of the superficial success, finding God in the modern Balkans and the loneliness of death, are all met, felt and lived in this movie. And both Tselemegos(director) and Nassis (writer) vote for life, when the ultimate pain produces love, in a dramatic and long lasting ending.
Katy has a dream: "to leave" and escape from something. Irene has a dream: to get pregnant and get Dimitris' interest back.
One day Katy persuades Irene to join a trip to Myconos. The trip is impossible but they manage to get on. On the way to south (Athens) the stories and personal experiences of the people they meet unfold in a semi-professional way, allowing life to dance with death, reality to survive the dreams and hope to prevail from pain.
The movie is shot many times assimilating an amateur camera shooting and at other times the dialogues are not following the same level and expectations of the plot. Judging though the movie as "not good" could be a defense for the painful reality; domestic violence, women's rights, closed communities, social exclusion and stigma for the weak one, social norms of the superficial success, finding God in the modern Balkans and the loneliness of death, are all met, felt and lived in this movie. And both Tselemegos(director) and Nassis (writer) vote for life, when the ultimate pain produces love, in a dramatic and long lasting ending.
How far would you go to find the bridge back to love? Zhang Yimou creates a truthful, meaningful, and respectfully rich in emotions journey of a father to rebuild the loving relationship he has lost with his son.
"Qian li zou dan qi" is a poetic movie full of metaphor and deep sense of the human agony of loneliness, isolation, defensive selfishness and the pain of facing death. The movie is engaging the spectators in an emotionally adventurous trip: the trip to the Tokyo's hospital, the trip to China, the trip to the prison, the trip to the Stone Village.
The plurality, the origins, the different cultures, the complete opposite professions (villagers, professionals, tour guides, officers, dancers of the opera) of the characters, are creating such an atmosphere that would be difficult for everyone not to find his psyche engaging in the journey of this movie. And the closure is completion...
"Qian li zou dan qi" is a poetic movie full of metaphor and deep sense of the human agony of loneliness, isolation, defensive selfishness and the pain of facing death. The movie is engaging the spectators in an emotionally adventurous trip: the trip to the Tokyo's hospital, the trip to China, the trip to the prison, the trip to the Stone Village.
The plurality, the origins, the different cultures, the complete opposite professions (villagers, professionals, tour guides, officers, dancers of the opera) of the characters, are creating such an atmosphere that would be difficult for everyone not to find his psyche engaging in the journey of this movie. And the closure is completion...
George, Hloi, Billis, Stavrakomanios and Papadakis are driving towards the Venizelos airport, at the same time, without knowing that their stories are part of one, bigger and involving their parents' story. Corruption, politics, media, drugs, prison system, health system, social standards of Modern Greek life-style in the 21st century exposed in a powerful way: this is not part of the night-life world, this is part of the Greek everyday reality. And the next generation is about to take some decisions.
Perakis shows for one more time how crucial and shameful social issues can be approached with wit and in a productively provocative way. What seemed to be "just another" modern-Greek comedy (first 10 minutes of the movie) is turning into a hopeful process.
Modern Greek society apart from struggling with an amalgam of historic and modern geopolitical forces and continuous changes seems to be unable to finalize its struggle for an identity for many decades now. Lacking the (sometimes externally imposed) heroism of the generations of the first half of the 20th century, the generations leading the country into the end of the 20th century seemed to have identified with a "balkanised" trio of values: money, media-fame and easy pleasure.
This is not news and "Psychraimia" is not the only movie addressing that. The news about this movie is the possibility that the emerging generations have somehow secure some remaining and healthy grounds to build a different and alternative future to the one that the previous generation has left. And, according to this movie, this is not possible only to the minority of the society that has been carrying the burden of the on-going corruption for the past decades in a peaceful but painful way either via the spiritual or cultural heritage; this becomes possible in the very heart of the rotting modern Greek leading society group.
Perakis shows for one more time how crucial and shameful social issues can be approached with wit and in a productively provocative way. What seemed to be "just another" modern-Greek comedy (first 10 minutes of the movie) is turning into a hopeful process.
Modern Greek society apart from struggling with an amalgam of historic and modern geopolitical forces and continuous changes seems to be unable to finalize its struggle for an identity for many decades now. Lacking the (sometimes externally imposed) heroism of the generations of the first half of the 20th century, the generations leading the country into the end of the 20th century seemed to have identified with a "balkanised" trio of values: money, media-fame and easy pleasure.
This is not news and "Psychraimia" is not the only movie addressing that. The news about this movie is the possibility that the emerging generations have somehow secure some remaining and healthy grounds to build a different and alternative future to the one that the previous generation has left. And, according to this movie, this is not possible only to the minority of the society that has been carrying the burden of the on-going corruption for the past decades in a peaceful but painful way either via the spiritual or cultural heritage; this becomes possible in the very heart of the rotting modern Greek leading society group.