Â˘Î¿‰· / Lefkada - Grimaldi Group

ª·ÛÙÚÔÁÈ¿ÓÓÈ, Ë Jeanne Moreau, Ô Harvey Keitel, Ô
Erland Josephson, Ô £·Ó¿Û˘ µ¤ÁÁÔ˜, Ë Maia
Morgenstern, ÂÓÒ ‰È·Ù‹ÚËÛ ÁÈ· ÔÏÏ¿ ¯ÚfiÓÈ· ·Ó¤·ÊË
ÌÈ· ‰ËÌÈÔ˘ÚÁÈ΋ ÔÌ¿‰· ·ÔÙÂÏÔ‡ÌÂÓË ·fi ÙÔÓ ¤ÙÚÔ
ª¿ÚηÚË Î·È ÙÔÓ Tonino Guerra ÛÙÔ ÛÂÓ¿ÚÈÔ, ÙÔÓ °ÈÒÚÁÔ
same production team for many years, which is comprised
by Petros Markaris and Tonino Guerra in the script,
Giorgos Arvanitis and more recently Antreas Sinanos in
photography direction, Loukianos Kilaidonis and for the
past twenty five years Eleni Karaindrou in music score
composition. In 1998 he won the Palme d’Or award in the
Cannes Festival with his film “Eternity and a Day”, starring
German actor Bruno Ganz, who also appears in his last
feature “the Dust of Time”, Willem Dafoe, Irène Jacob and
Michel Piccoli. This achievement represents the peak of the
director’s film career.
Despite the fact that Theodoros Aggelopoulos has been
highly acclaimed in many countries, such as in Japan, he
remains a controversial personality in Greece; the cause for
that may be that he is much more famous than any other
director that lives and works in Greece.
√ ı›·ÛÔ˜ / The Travelling Players
∞Ú‚·Ó›ÙË Î·È ÈÔ ÚfiÛÊ·Ù· ÙÔÓ ∞ÓÙÚ¤· ÈÓ¿ÓÔ ÛÙË ‰È‡-
ı˘ÓÛË ÊˆÙÔÁÚ·Ê›·˜, ÙÔÓ §Ô˘ÎÈ·Ófi ∫ËϷˉfiÓË Î·È Ù·
ÙÂÏÂ˘Ù·›· ›ÎÔÛÈ ¤ÓÙ ¯ÚfiÓÈ· ÙËÓ ∂ϤÓË ∫·Ú·˝Ó‰ÚÔ˘
ÛÙË ÌÔ˘ÛÈ΋. ∫ÔڇʈÛË Ù˘ ̤¯ÚÈ ÙÒÚ· ÔÚ›·˜ ÙÔ˘
Theodoros Aggelopoulos belongs to a generation of
directors that many believe are “too attached to the past”,
persistent to maintain their established cinematographic
identity, avoiding any kind of deviation and
experimentation. The younger audience finds the work of
Aggelopoulos extremely abstract, overburdened with
symbolisms and historical remarks that are hard to
decipher. They view the stoicism of the camera as an
unjustified leisure and feel that they identify better with the
cinema of new directors who use a direct – but not
necessarily simple - language and easy to understand
narrative structures. The issue lies then, on the creative
deadlock of the director, or on the inability of the public to
interact with a type of cinema that refuses to compromise
to the established “visual codes” of our times?
As always, the truth lies somewhere in the middle and that
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