Â˘Î¿‰· / Lefkada - Grimaldi Group
Â˘Î¿‰· / Lefkada - Grimaldi Group
Â˘Î¿‰· / Lefkada - Grimaldi Group
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032<br />
∞£fi‰ˆÚÔ˜ ∞ÁÁÂÏfiÔ˘ÏÔ˜ / Theodoros Aggelopoulos<br />
∞fi ÙËÓ ÚÒÙË ÙÔ˘ ÎÈfiÏ·˜ Ù·ÈÓ›·, Ô<br />
£fi‰ˆÚÔ˜ ∞ÁÁÂÏfiÔ˘ÏÔ˜, ηٿÊÂÚ fi¯È<br />
·ÏÒ˜ Ó· ÙÚ·‚‹ÍÂÈ Ù· ‚ϤÌÌ·Ù· ÛÙÔ<br />
ÊÂÛÙÈ‚¿Ï £ÂÛÛ·ÏÔӛ΢, ·ÏÏ¿ Ó· ÎÂÚ‰›-<br />
ÛÂÈ Ù¤ÛÛÂÚ· ·fi Ù· ÛËÌ·ÓÙÈÎfiÙÂÚ· ‚Ú·-<br />
‚›·: ∫·Ï‡ÙÂÚ˘ ∆·ÈÓ›·˜, ÎËÓÔıÂÛ›·˜,<br />
ºˆÙÔÁÚ·Ê›·˜ Î·È ∞’ °˘Ó·ÈΛԢ ƒfiÏÔ˘.<br />
◊Ù·Ó Ë ÚÒÙË Î·È ÌÔÓ·‰È΋ ·ÛÚfiÌ·˘-<br />
ÚË ÚÔÛı‹ÎË ÛÙË ÊÈÏÌÔÁÚ·Ê›· ÙÔ˘ ÛÎË-<br />
ÓÔı¤ÙË Ì¤¯ÚÈ Û‹ÌÂÚ·, ηıÒ˜ ·fi ÙȘ<br />
«ª¤Ú˜ ÙÔ˘ ‘36», Ô˘ ·ÎÔÏÔ˘ıÔ‡Ó ÙÔ<br />
1972, ÂÚÓ¿ÂÈ ÛÙÔ ¯ÚÒÌ· Î·È ÛÙ·‰È·Î¿<br />
·Ú¯›˙ÂÈ Ó’ ·ÔÎÙ¿ Ù· ¯·Ú·ÎÙËÚÈÛÙÈο<br />
Ô˘ ·Ó·ÁÓˆÚ›˙ÔÓÙ·È Ï¤ÔÓ ˆ˜ «·ÁÁÂÏÔ-<br />
Ô˘ÏÈο» ·Ó¿ÌÂÛ· Û ÎÔÈÓfi Î·È ÎÚÈÙÈ-<br />
ÎÔ‡˜, fiˆ˜ Ù· ÌÂÁ¿Ï˘ ‰È¿ÚÎÂÈ·˜ ÌÔÓÔ-<br />
Ï¿Ó·, Ë ·Ê·ÈÚÂÙÈ΋ ‰Ú¿ÛË, Ë ÌÈÓÈÌ·ÏÈÛÙÈ΋ ÏÔ΋, ÔÈ<br />
ÂÏ¿¯ÈÛÙÔÈ ‰È¿ÏÔÁÔÈ, Ë Î˘Ú›·Ú¯Ë ÂÈηÛÙÈÎfiÙËÙ·, Ë ·fiÛÙ·-<br />
ÛË ·fi Ù· ÁÂÁÔÓfiÙ·, Ô˘ ‰Â ÛËÌ·›ÓÂÈ ·Ó·ÁηÛÙÈο ηÈ<br />
·ÔÛÙ·ÛÈÔÔ›ËÛË.<br />
∏ ÈÛÙÔÚÈÎÔ-ÔÏÈÙÈ΋ ıÂÌ·ÙÔÏÔÁ›· ·›˙ÂÈ Ï¤ÔÓ ÚˆÙ‡Ô-<br />
ÓÙ· ÚfiÏÔ, Ì ٷ ÛÂÓ¿ÚÈ¿ ÙÔ˘ Ó’ ·Ó·Ê¤ÚÔÓÙ·È ÏÈÁfiÙÂÚÔ ‹<br />
ÂÚÈÛÛfiÙÂÚÔ ¿ÌÂÛ· ÛÂ Û˘ÁÎÂÎÚÈ̤Ó˜ ÈÛÙÔÚÈΤ˜ ÂÚÈfi-<br />
‰Ô˘˜, ÙȘ Ôԛ˜ ÂÍÂÙ¿˙ÂÈ Ì¤Û· ·fi ÚÔÛˆÈΤ˜ ‹ ÔÌ·‰È-<br />
Τ˜ Ô‰‡ÛÛÂȘ. ∏ ÂÚÈÏ¿ÓËÛË, ˆ˜ ÎÂÓÙÚÈÎfi ıÂÌ·ÙÈÎfi<br />
ÌÔÙ›‚Ô, ı· ÂÈÛ¤ÏıÂÈ ÛÙÔÓ ÎfiÛÌÔ ÙÔ˘ ∞ÁÁÂÏfiÔ˘ÏÔ˘ ÛÙËÓ<br />
ÙÚ›ÙË Ù·ÈÓ›· ÙÔ˘, ÙÔ «£›·ÛÔ», Ô˘ Â›Ó·È ›Ûˆ˜ Ë ÈÔ ÈÛ¯˘-<br />
Ú‹ ÛÙË ÌÓ‹ÌË ÙˆÓ ÂÚÈÛÛÔÙ¤ÚˆÓ, ÙfiÛÔ ÙˆÓ Ê·Ó·ÙÈÎÒÓ<br />
Ô·‰ÒÓ ÙÔ˘, fiÛÔ ÎÈ ÂÎÂ›ÓˆÓ Ô˘ ÙÔÓ ·Ó·ÁÓˆÚ›˙Ô˘Ó, ·ÏÏ¿<br />
ÛÙËÓ ÔÚ›· ÙÔÓ ÂÁη٤ÏÂÈ„·Ó. ∂›Ó·È Ë Ù·ÈÓ›· Ì ÙËÓ<br />
ÔÔ›· ·Ú¯›˙ÂÈ È· Ó· οÓÂÈ Ù’ fiÓÔÌ¿ ÙÔ˘ ÁÓˆÛÙfi ÛÙȘ ÈÔ<br />
·ÔÌ·ÎÚ˘Ṳ̂Ó˜ ÎÈÓËÌ·ÙÔÁÚ·ÊÈΤ˜ ·›ıÔ˘Û˜ ÙÔ˘ Ï·Ó‹-<br />
ÙË Î·È Ì ÙËÓ ÔÔ›· ı· ηٷÎÙ‹ÛÂÈ Â¿ÍÈ· ÌÈ· ı¤ÛË ÛÙË<br />
‰ÈÂıÓ‹ ÎÈÓËÌ·ÙÔÁÚ·ÊÈ΋ ÈÛÙÔÚÈÔÁÚ·Ê›·. Ÿˆ˜ Ô ›‰ÈÔ˜<br />
ϤÂÈ: “√˘ÛÈ·ÛÙÈο Ô «£›·ÛÔ˜» ‰ÂÓ Î¿ÓÂÈ Ù›ÔÙ· ¿ÏÏÔ ·fi<br />
ÙÔ Ó· ηٷÁÚ¿ÊÂÈ Ù· ¯ÚfiÓÈ· Ù˘ ˙ˆ‹˜ ÌÔ˘. ’ ·˘Ù¿ Ù·<br />
¯ÚfiÓÈ· Ô˘ ÂÁÒ ˙ˆ ÙÈ ¤ÁÈÓÂ, Î·È ›Ûˆ˜ Û ̷ÎÚÈÓfiÙÂÚ˜<br />
ÂÚÈfi‰Ô˘˜, fiˆ˜ Â›Ó·È ·˜ Ô‡ÌÂ Ë Î·Ù·ÛÙÚÔÊ‹ ÙÔ˘ ’22, ÌÂ<br />
ÙÔÓ ÂÚ›ÊËÌÔ ÌÔÓfiÏÔÁÔ ÙÔ˘ ÙÚ¿ÙÔ˘ ·¯‹».<br />
ŒÎÙÔÙÂ, ¤¯ÂÈ Á˘Ú›ÛÂÈ ·ÎfiÌË ‰¤Î· Ù·Èӛ˜ ÌÂÁ¿ÏÔ˘ Ì‹ÎÔ˘˜,<br />
Already from his first feature film, Theodoros<br />
Aggelopoulos managed to impress the audience in the<br />
Thessaloniki Film Festival, winning four of the most<br />
important awards: Best Feature Film, Direction,<br />
Photography and Actress on a Leading Role. It is the first<br />
and only black-and-white feature in his Filmography until<br />
∆Ô ÌÂÙ¤ˆÚÔ ‚‹Ì· ÙÔ˘ ÂÏ·ÚÁÔ‡<br />
The Suspended Step of the Stork<br />
today, as since his following film “Days of ‘36” in 1972 and<br />
on, he makes color films and starts to develop his unique<br />
thematic and stylistic constants, known as “aggelopoulian”<br />
amongst film critics and the audience; such characteristics<br />
include the long takes, the symbolic action, the minimalist<br />
plot, the few dialogues, the memorable artistic images and<br />
the distance from the events, without suggesting alienation.<br />
Historical and political themes play a leading role in his<br />
films, as the scenarios focus directly or indirectly to specific<br />
time periods, through which he narrates his personal<br />
odysseys. The wandering, as a central thematic motif, will<br />
enter the world of Aggelopoulos in his third film, “The<br />
Travelling Players”, which is probably his most memorable<br />
film for most people, including his fans. It is the film that<br />
made Aggelopoulos famous internationally and rightly gave<br />
him a place in the international cinematographic history.<br />
Aggelopoulos stated that “essentially, the film ‘The<br />
Traveling Players’ does nothing more than recording the<br />
years of my life. It records the events of my lifetime, and<br />
perhaps even of older periods, such as, for example, the<br />
disasters of 1922 with the famous monologue of Stratos<br />
Pachis”.<br />
√ ªÂÁ·Ï¤Í·ÓÙÚÔ˜ / Alexander the Great<br />
‰‡Ô ÓÙÔÎÈÌ·ÓÙ¤Ú, ÂÓÒ Û˘ÌÌÂÙ›¯Â ›Û˘ Û ‰˘Ô ÛÔÓ‰˘-<br />
ψٿ ÊÈÏÌ, ‰È·ÙËÚÒÓÙ·˜ ÙË ı¤ÛË ÙÔ˘ ˆ˜ ¤Ó·˜ ·fi ÙÔ˘˜<br />
ÈÔ Û‚·ÛÙÔ‡˜ Î·È ‰È·ÎÂÎÚÈ̤ÓÔ˘˜ Â˘Úˆ·›Ô˘˜ ÛÎËÓÔı¤-<br />
Ù˜, Ì ·Ó·ÁÓÒÚÈÛË ÎÚÈÙÈ΋˜, Û˘Ó·‰¤ÏÊˆÓ Î·È ÎÔÈÓÔ‡.<br />
˘ÓÂÚÁ¿ÛÙËΠ̠Ôχ ÛËÌ·ÓÙÈÎÔ‡˜ ËıÔÔÈÔ‡˜, fiˆ˜ Ô<br />
µ·ÁÁ¤Ï˘ ∫·˙¿Ó, Ô ª¿ÓÔ˜ ∫·ÙÚ¿Î˘, Ô ª·ÚÙÛ¤ÏÔ<br />
Since then, Aggelopoulos has made ten more feature films,<br />
two documentaries, while he also participated in two<br />
anthology films, establishing himself as one of the most<br />
respectable and highly acclaimed European directors. He<br />
has worked with very important actors and actresses, such<br />
as Vaggelis Kazan, Manos Katrakis, Marcello Mastroianni,<br />
Jeanne Moreau, Harvey Keitel, Erland Josephson,<br />
Thanassis Veggos, Maia Morgenstern; while he has kept the