Â˘Î¿‰· / Lefkada - Grimaldi Group

£fi‰ˆÚÔ˜ ∞ÁÁÂÏfiÔ˘ÏÔ˜ / Theodoros Aggelopoulos
˘‹ÚÍÂ Ë ‚Ú¿‚Â˘Û‹ ÙÔ˘ Ì ÙÔÓ ÃÚ˘Ûfi ºÔ›ÓÈη ÛÙÔ ÊÂÛÙÈ-
‚¿Ï ∫·ÓÓÒÓ ÙÔ 1998, ÁÈ· ÙÔ «ªÈ· ·ÈˆÓÈfiÙËÙ· Î·È ÌÈ·
̤ڷ», Ì ڈٷÁˆÓÈÛÙ‹ ÙÔÓ ÁÂÚÌ·Ófi Bruno Ganz, Ô˘
Û˘ÌÌÂÙ¤¯ÂÈ Â›Û˘ ÛÙÔ ÙÂÏÂ˘Ù·›Ô ÙÔ˘ ÂÁ¯Â›ÚËÌ·, «∏ ÛÎfiÓË
ÙÔ˘ ¯ÚfiÓÔ˘», Ì·˙› Ì ÙÔÓ Willem Dafoe, ÙËÓ Irène Jacob
Î·È ÙÔÓ Michel Piccoli.
might explain the director’s international popularity as well
as the domestic skepticism. Aggelopoulos once stated:
“Within a long take there is a recording of time, not only as
an abstract definition, not only as a passage, but also as
duration; with commas and not with full stops. There is a
musicality in the long take, which is appreciated in a
·ÚfiÙÈ ¯ÒÚ˜, fiˆ˜ Ë π·ˆÓ›·, ÂÚÈÏ·Ì‚¿ÓÔÓÙ·È Û’ ÂΛ-
Ó˜ Ì ÙÔ˘˜ ÈÔ Ê·Ó·ÙÈÎÔ‡˜ ı·˘Ì·ÛÙ¤˜ ÙÔ˘, ÛÙËÓ ∂ÏÏ¿‰·
Ô £fi‰ˆÚÔ˜ ∞ÁÁÂÏfiÔ˘ÏÔ˜ ·Ú·Ì¤ÓÂÈ fiÏ· ·˘Ù¿ Ù· ¯ÚfiÓÈ·
ÌÈ· ·ÌÊÈÏÂÁfiÌÂÓË ÚÔÛˆÈÎfiÙËÙ·, ›Ûˆ˜ ÂÂȉ‹ ›ӷÈ
ÙfiÛÔ ÂÈÙ˘¯Ë̤ÓÔ˜, ÂÚÈÛÛfiÙÂÚÔ ·fi ÔÔÈÔÓ‰‹ÔÙÂ
¿ÏÏÔÓ Û˘Ó¿‰ÂÏÊfi ÙÔ˘ Ô˘ ˙ÂÈ Î·È ÂÚÁ¿˙ÂÙ·È ÛÙË ¯ÒÚ·
Ì·˜. √È ·ÏÈfiÙÂÚÔÈ ÙÔÓ ‚Ú›ÛÎÔ˘Ó ˘ÂÚÙÈÌË̤ÓÔ, ÔÈ ÓÂfiÙÂ-
ÚÔÈ ÙÔÓ Î·ÙËÁÔÚÔ‡Ó ÁÈ· Û˘ÁÎÂÓÙÚˆÙÈÛÌfi, ÔÈ ÂÚÈÛÛfiÙÂÚÔÈ
ı·٤˜ ÙÔÓ ‚Ú›ÛÎÔ˘Ó ÂÍÂ˙ËÙË̤ÓÔ Î·È ÁÂÓÈÎÒ˜ fiÏÔÈ ¤¯Ô˘Ó
Ó· ÚÔ‚¿ÏÔ˘Ó ÙË ‰È΋ ÙÔ˘˜ ¤ÓÛÙ·ÛË.
√ ÌÂÏÈÛÛÔÎfiÌÔ˜ / The Beekeeper
034
∆Ô ÏÈ‚¿‰È Ô˘ ‰·ÎÚ‡˙ÂÈ / The Weeping Meadow
√ £fi‰ˆÚÔ˜ ∞ÁÁÂÏfiÔ˘ÏÔ˜ ·Ó‹ÎÂÈ Û ÌÈ· ÁÂÓÈ¿ ÛÎËÓÔıÂ-
ÙÒÓ Ô˘ ¤Ú¯ÔÓÙ·È ·fi ÙÔ ·ÚÂÏıfiÓ Î·È Ô˘, ÔÏÏÔ›
ÈÛÙÂ‡Ô˘Ó fiÙÈ ·Ú·Ì¤ÓÔ˘Ó ÚÔÛÎÔÏÏË̤ÓÔÈ ÛÙÔ ·ÚÂÏıfiÓ,
ÂÈ̤ÓÔÓÙ·˜ ÛÙËÓ È‰ÈfiÙ˘Ë ÎÈÓËÌ·ÙÔÁÚ·ÊÈ΋ ÙÔ˘˜
Ù·˘ÙfiÙËÙ·, ·ÔʇÁÔÓÙ·˜ ·ÔÎÏ›ÛÂȘ Î·È ÂÈÚ·Ì·ÙÈ-
ÛÌÔ‡˜. £Â·Ù¤˜ ÙˆÓ ÓÂfiÙÂÚˆÓ ÁÂÓÂÒÓ ÙÔÓ ‚Ú›ÛÎÔ˘Ó ˘ÂÚ-
‚ÔÏÈο ·Ê·ÈÚÂÙÈÎfi, ÊÔÚو̤ÓÔ Û˘Ì‚ÔÏÈÛÌÔ‡˜ Î·È ÈÛÙÔÚÈ-
Τ˜ ·Ó·ÊÔÚ¤˜ Ô˘ Â›Ó·È ‰‡ÛÎÔÏÔ Ó· ·ÔΈ‰ÈÎÔÔÈËıÔ‡Ó,
‚Ï¤Ô˘Ó ÙË ÛÙˆÈÎfiÙËÙ· Ù˘ οÌÂÚ·˜ ˆ˜ ·‰ÈηÈÔÏfiÁËÙË
Óˆ¯ÂÏÈÎfiÙËÙ· Î·È Ù¤ÏÔ˜ ¿ÓÙˆÓ ÓÈÒıÔ˘Ó fiÙÈ ÂÈÎÔÈÓˆ-
ÓÔ‡Ó Â˘ÎÔÏfiÙÂÚ· Ì ÙÔ ÛÈÓÂÌ¿ ÓÂfiÙÂÚˆÓ ‰ËÌÈÔ˘ÚÁÒÓ, Ô˘
¯ÚËÛÈÌÔÔÈÔ‡Ó ·ÌÂÛfiÙÂÚË - ·Ó Î·È fi¯È ·Ó·ÁηÛÙÈο ÈÔ
‡ÎÔÏË - ÁÏÒÛÛ·. ÚfiÎÂÈÙ·È, fï˜, ÁÈ· ‰ËÌÈÔ˘ÚÁÈÎfi
Ù¤ÏÌ· ÙÔ˘ ÛÎËÓÔı¤ÙË ‹ ÁÈ· ·‰˘Ó·Ì›· ÙˆÓ ı·ÙÒÓ Ó· ÂÈ-
ÎÔÈÓˆÓ‹ÛÔ˘Ó Ì’ ¤Ó·Ó ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ Ô˘ ·ÚÓÂ›Ù·È Ó·
Û˘ÌÌÔÚʈı› Ì ÙÔ˘˜ ηıÈÂڈ̤ÓÔ˘˜ ÔÙÈÎÔ‡˜ ÎÒ‰ÈΘ
Ù˘ ÛËÌÂÚÈÓ‹˜ ÂÔ¯‹˜;
∏ ·Ï‹ıÂÈ·, fiˆ˜ ¿ÓÙ·, ›Ûˆ˜ ‚Ú›ÛÎÂÙ·È Î¿Ô˘ ÛÙË Ì¤ÛË
Î·È ›Ûˆ˜ ÂÍËÁ› ÙfiÛÔ ÙË ‰ÈÂıÓ‹ ÙÔ˘ ·‹¯ËÛË fiÛÔ Î·È ÙÔÓ
ÂÁ¯ÒÚÈÔ ÛÎÂÙÈÎÈÛÌfi. √ ›‰ÈÔ˜ ÂÈÛËÌ·›ÓÂÈ fiÙÈ “̤۷ ÛÂ
¤Ó· ÌÔÓÔÏ¿ÓÔ ˘¿Ú¯ÂÈ ÌÈ· ÂÁÁÚ·Ê‹ ÙÔ˘ ¯ÚfiÓÔ˘, fi¯È
ÌfiÓÔ ˆ˜ ·ÊËÚË̤ÓË ¤ÓÓÔÈ·, ˆ˜ ¤Ú·ÛÌ·, ·ÏÏ¿ Î·È ˆ˜
‰È¿ÚÎÂÈ·. ªÂ ÎfiÌÌ·Ù· Î·È fi¯È Ì ÙÂÏ›˜. À¿Ú¯ÂÈ ÌÈ·
ÌÔ˘ÛÈÎfiÙËÙ· ÛÙÔ ÌÔÓÔÏ¿ÓÔ, Ë ÔÔ›· ÎÂÚ‰›˙ÂÙ·È ‰È·ÊÔ-
ÚÂÙÈο. ∑ԇ̠ÌÈ· ÂÔ¯‹, fi¯È ÌfiÓÔ ÙÒÚ·, ·ÏÏ¿ ·fi ¿Ú·
ÔÏÏ¿ ¯ÚfiÓÈ·, fiÔ˘ Î·È Ë ÌÔ˘ÛÈ΋ ¤¯ÂÈ Á›ÓÂÈ È· ÂÚÈÛ-
ÛfiÙÂÚÔ ÎÔÊÙ‹, ÔÈ ÌÂÁ¿Ï˜ ÌÔ˘ÛÈΤ˜ ÊÚ¿ÛÂȘ ¤¯Ô˘Ó ηٷÚ-
ÁËı›, ·ÏÏ¿ Î·È ÛÙË ÏÔÁÔÙ¯ӛ· Ù· Ú¿ÁÌ·Ù· Á›ÓÔÓÙ·È ÈÔ
Û˘ÓÙÔÌÂ˘Ì¤Ó·. ¢ÂÓ ˘¿Ú¯Ô˘Ó È· ÔÈ ÚÔ˘ÛÙ Ô‡Ù ÔÈ
ºÒÎÓÂÚ. fï˜, ·Ó Ô ‰ËÌÈÔ˘ÚÁfi˜ ÂÈ fiÙÈ ÌÈ· Î·È ÙÔ Ú‡̷
different way. We live in a time, for many years now, where
even music has become shorter and the long music
“phrases” have been abolished; even in literature, things
become shorter and shorter. There is no more Proust or
Faulkner. However, if the artist decides to follow the flow
no matter where it takes him, he has already denied his
personal route, which is crucial not just for his work, but
above all to himself. When he tries to change it and change
does not occur due to a personal necessity, this is a kind of
betrayal, also visible to the spectator”.
The denial of Theodoros Aggelopoulos to compromise with
the widely used conventional methods of cinema narrative
is a legitimate choice of his; and even though this choice
makes him “inaccessible” to a large number of viewers that
feel more comfortable with conventional narratives, it still
allows him to exhibit a quite special and exciting personal
point of view. This does not mean that all his movies are of
the same value just because of his recurrent cinematic style,
but this is true for every film director, no matter their style,
status or filmography. The debate over the cinematic style
of Aggelopoulos is ongoing, and issues around his recurrent
motifs, such as the beautiful image composition, the
functionality of rhythms, the disruptive plots, the lucidity of
time, the weight of his historical commentary, the artistic
shots, the persistence on the detail and the poetic dialogues
will continue to be raised.
Despite the various opinions on his art, it is still certain that
Theodoros Aggelopoulos has developed an innately
personal style, unique in the Greek film industry,
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