Â˘Î¿‰· / Lefkada - Grimaldi Group

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£fi‰ˆÚÔ˜ ∞ÁÁÂÏfiÔ˘ÏÔ˜ Theodoros Aggelopoulos ªÂ ÙÔ ‚Ï¤ÌÌ· ÛÙÚ·ÌÌ¤ÓÔ ÛÙÔ ¯ÚfiÓÔ 030 Gazing through Time √ £fi‰ˆÚÔ˜ ∞ÁÁÂÏfiÔ˘ÏÔ˜ Â›Ó·È ›Ûˆ˜ Ë ÈÔ È‰ÈfiÌÔÚÊË ÂÚ›ÙˆÛË ÛÎËÓÔı¤ÙË ÛÙÔÓ ÂÏÏËÓÈÎfi ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ. ªÂ Î·Ù·ÁˆÁ‹ ·fi ÙÔ °·‚·ÏÔ¯ÒÚÈ Ã·Ó›ˆÓ, ÁÂÓÓ‹ıËÎÂ ÛÙËÓ ∞ı‹Ó· ÙÔÓ ∞Ú›ÏË ÙÔ˘ 1935, ÛÔ‡‰·ÛÂ ÓÔÌÈÎ¿ ÛÙÔ ·ÓÂÈÛÙ‹ÌÈÔ ∞ıËÓÒÓ Î·È ÙÔ ·Ú›ÛÈ, ·Ú·ÎÔÏÔ‡ıË- ÛÂ Ì·ı‹Ì·Ù· ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ ÛÙË ÔÚ‚fiÓË Î·È ÙËÓ IDHEC, ÛÙÔ ·Ú›ÛÈ. ∞fi ÙÔ 1964 ˆ˜ ÙÔ 1967, ÂÚÁ¿ÛıËÎÂ ˆ˜ ÎÚÈÙÈÎfi˜ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ ÛÙËÓ ∞ı‹Ó·, ÂÓÒ ·Ú¿ÏÏËÏ· ¿Ú¯ÈÛÂ Ó· Î¿ÓÂÈ ÙÈ˜ ÚÒÙÂ˜ ÙÔ˘ Ù·ÈÓ›Â˜, ÚÒÙ· ÌÂ ÙÔ ËÌÈÙÂÏ¤˜ «Forminx story», ÙÔ 1965, ÎÈ ¤ÂÈÙ· ÌÂ ÙË ÌÈÎÚÔ‡ Ì‹ÎÔ˘˜ «∂ÎÔÌ‹», ÙÔ 1968. ∏ ÚÒÙË ÙÔ˘ ÌÂÁ¿ÏÔ˘ Ì‹ÎÔ˘˜ ·fiÂÈÚ· ‹Ù·Ó Ë «∞Ó··Ú¿ÛÙ·ÛË» ÙÔ˘ 1970, ÌÈ· Ù·ÈÓ›· Ô˘ Ê·ÈÓÔÌÂÓÈÎ¿ ·ÔÙÂÏÂ› ÈÛÙÔÚ›· ÂÁÎÏ‹Ì·ÙÔ˜, ·ÏÏ¿ Ô˘ÛÈ·ÛÙÈÎ¿ ÌÂÙ·Ê¤ÚÂÈ ÌÂ ˙ÔÊÂÚ‹ ÌÂÏ·Á¯ÔÏ›· ÙËÓ ÂÁÎ·Ù¿ÏÂÈ„Ë ÙË˜ ÂÏÏËÓÈÎ‹˜ ˘·›ıÚÔ˘ Î·È ÙËÓ ÂÚ‹ÌˆÛË Ô˘ ¤¯Ô˘Ó ÂÈÊ¤ÚÂÈ Ù· ÌÂÙ·Ó·ÛÙÂ˘ÙÈÎ¿ ÚÂ‡Ì·Ù· ÙË˜ ÂÔ¯‹˜ ÚÔ˜ ÙÔ ÂÍˆÙÂÚÈÎfi. Ÿˆ˜ ÎÈ Ô ›‰ÈÔ˜ ·Ó¤ÊÂÚÂ: «Ë «∞Ó··Ú¿ÛÙ·ÛË» Â›Ó·È ÌÈ· Ù·ÈÓ›· Ô˘ Á˘Ú›ÛÙËÎÂ ÛÙËÓ ◊ÂÈÚÔ Î·È ÎÔ˘‚·Ï¿ÂÈ, ÂÚÈÛÛfiÙÂÚÔ ·fi ÙÈ˜ «ª¤ÚÂ˜ ÙÔ˘ ’36», fiÏ· Ù· ¯·Ú·ÎÙËÚÈÛÙÈÎ¿ ÙˆÓ Ù·ÈÓÈÒÓ ÌÔ˘: ÙË ‚ÚÔ¯‹, ÙËÓ ÔÌ›¯ÏË, ÙÔ ÌÂÙ·›¯ÌÈÔ, Î·È Â›Ó·È Ì›· Ù·ÈÓ›· Ô˘ Û·ÊÒ˜ ÌÂ ÛËÌ¿‰Â„Â ¿Ú· ÔÏ‡. ¢ÂÓ ı· ÙËÓ ¤ÏÂÁ· ·Á·ËÌ¤ÓË, ı· ÙËÓ ¤ÏÂÁ· ·˘Ù‹ Ë Ù·ÈÓ›·, Ë ÔÔ›· Â›Ó·È ÙÔ ÛËÌÂ›Ô ·Ó·- ÊÔÚ¿˜ ÌÔ˘, ÁÈ·Ù› Â›Ó·È ÙÔ ÚÒÙÔ ‚Ï¤ÌÌ·”.
ÙÔ˘ ¡›ÎÔ˘ ∆Û·ÁÎ·Ú¿ÎË Written by Nikos Tsagkarakis Theodoros Aggelopoulos is perhaps the most “anti-conformist” film director in the Greek film industry. His origins are from the village Gavalochori of Chania but he was born in Athens in April 1935. He studied law in the University of Athens and in Paris and attended cinema classes in Sorbonne and in IDHEC in Paris. From 1964 to 1967, he was employed as a film critic in Athens, while at the same time he started making his first films. In 1965 he directed the film “Forminx story”, which was never completed, followed by his first short film “Broadcast” in 1968. In 1970 he made his first full-length feature film “Reconstruction”, a film that seemingly narrates the chronicle of a crime but in essence illustrates the unbearable melancholy of the twilight of rural Greece, the abandonment of villages brought during the migration of populations abroad during this period. Talking about his films, Aggelopoulos once said: “‘Reconstruction’ is set in Epirus and bears all the motifs of my films: the rain, the mist, the border and the transition; it is a film that greatly marked my life. I wouldn’t say it is my favorite, however, I would say it is a point of reference in my career, because it is the first gaze”. MINOAN WAVE >>
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Â˘Î¿‰· / Lefkada - Grimaldi Group

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