A violent man in the highlands of the Greek province traffics emigrants and young hookers from the Balkan countries. The man doesn‟t dare to prostitute his teenage daughter, Fanny. Fanny, addicted to drugs now and mentally quite invalid, does not resist to the violence of her father and works for him as a prostitute. Thus the father wishes to prostitute also and his young son, Christos. Immature and still enclaved in the violence of his father, Christos has a suicidal behavior. Between the brother and the sister appears inevitably herotism. They have only each other. But no one of them however admits it. And none of them both can still do something for the other. Fanny collapses day by day. The father continues reigning. His younger son, Christos, however resists. After the puberty, the hour of succession comes for a man. He denies his prostitution from his father. But in the kingdom of the father, the last word belongs to the king.
- Antonis Papadopoulos
- Marlen Saites
- Alexandros Tountas
- Costas Zapas
- Costas Zapas
- Costas Zapas
Beginning an European movie with the stoning of a woman, I was wondering, if the Eastern way of life and the religious dogmatism that this most times entails, has invade to impermissible levels in the Western culture, that means the European and in extension that of the New World, or whether all of us are more fanatic, than what we thought we were. What is the difference between a Greek Orthodox and a Jew, or an American Christian of the South, or a Protestant and a Catholic, that still kill each other for their dogma, and the difference of all of them together confronting a Muslim? The answer is simple. None. Globalization is totalitarism. What we are going to live is already here. The new leaders are the next door‟s people. The every-day crimes are politics, because they create behaviors. Fanny, the movie heroine, is prostituted by her own father. He sacrifices her. But the father himself was also sacrificed once. The Greek province says nothing. Just as the American South would have been silent, and Fanny would have had there the same fate, as a “Fanny” of the deepest bourgeois family of the Northern Europe. The abolishment of any moral law leads to tragedy. This violation is that gave birth to the ancient Greek tragedy. The past, the present, and as it seems the future too, have transcended civilization. Because Fanny is neither an unlucky human moment, nor the appeasement of our conscience to an easy poetical symbolism. From the "Iphigenia" of the ancient Greek tragedy to today‟s Fanny, the sacrifice taking place is the same. The same greed for power: “We need money” the father notes somewhere. And somewhere else: “I can‟t see dead people”. The same always fear of God. Between today‟s Fanny and the "Iphigenia" of the ancient Greek tragedy the only thing that has changed is the daily routine of modern life. "Minor freedoms", so to say. And that‟s everything that remained to us.
- MINUS PICTURES
remind us how powerful a weapon art can be when made by exceptionally talented filmmakers.
An unorthodox, cutting edge tale on family relations.
A masterpiece cinematographic portrait of Greece that no-one has dared to describe with the same surgical‟ brutality.
I do not believe in form. I believe in meanings, because that is what makes a film alive.
Cineuropa named him as «one of the most outstanding directors of contemporary auteur cinema», The Guardian as «one of the main protagonists of the burgeoning Greek new cinema wave» and L’Humanite as “the Greek exception”. He's known for UNCUT FAMILY (2004), THE LAST PORN MOVIE (2006), MINOR FREEDOMS (2008)- financed and coproduced by Lars von Trier’s production company Zentropa -, THE REBELLION OF RED MARIA (2011)and LOVE, LOVE, LOVE (2016). All of them have screend at various major international film festivals to excellent reviews and have been released outside Greece.