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| Movie Presentations | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| March- April 2001 | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| 2001 the space odyssey just started | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| Solaris | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| By Adrei Tarkovski | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| ����������� A Russian science fiction film where the space becomes place for philosophical search of the soul?s gist. | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| ����������� A psychologist withdraws in a space station round of the planet Solaris, where he discovers its secret. It is an ocean full of mind?s pictures and memories of the space stations people. He gives them the possibility to discover the disguised consciousness and their roots back to earth. The Tarkovski?s answer to Kubrick?s space Odyssey. | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| ����������������������������������������������������������������������������������� By Popi Korbeti | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| Alphavil | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| By Zan-Lyc Gondar | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| Cast: Endi Constantin, Anna Carina | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| ��� Undoubtedly Alphavil by Zan-Lyc Godar is said to be one of the strangest films of ?Nouvelle Vague?. The story evolves in an on-coming authoritarian society with indirect references to Orwell?s ?1984? where it is ruled by an electronic mind. The icy-monotonous life is disturbed by the arrival of agent Lerni Coston. The film is completely pessimistic. The most inspiring element is that it was filmed in 1965 without the use of décor or special effects. The reality of the era depicts ?realism? and ?trellis? that Gondar uses to make this film. | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| ������������������������������������������������������������������������������������ By Holeva Zaharoula | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| 2007: The threat from Mars? | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| By Michael Anderson | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| ����������� A Ray Bandbery?s story (who is a clever writer of science fiction?s stories and a good script writer) and Michael?s Anderson?s view for direction make up this science fiction?s western, which did not delight in the book?s philosophy, but on its own is an originality. | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| ����������� The people of earth-people are those, who conquer the ?Red planet? and not the Martians the earth. The life on Mars has been destroyed thousand years ago and the Martians have not body but energy. | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| ����������� The biblical catastrophe doesn?t seem far away? | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| ����������������������������������������������������������������������������������� By Fotis Dimoulas | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| Letters from a dead man, 1986 | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| By Konstantin Lapushansky | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| Rolan Bykov, Iosif Riklin, | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| Svetlana Smirnova | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| The �Day After� (a nuclear holocaust) by a Tarkovski student. An ominous future for humanity serves as means to look into the needs and the weapons of the human soul facing the ultimate challenge. A (soon to be dead) nobelist writes letters to his lost son from the basement of a museum, that serves as a shelter (and probably an inspiration!), amongst total terror and raised philosophical questions. | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| Between the ruins flourishes the only flower possible, Hope? | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| ����������������������������������������������������������������������� By Giorgos Gavrielidis | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| Good girls go to paradise, bad girls go everywhere | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| Let women wait | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| By Stavros Tsiolis | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| ����������� Two craftsmen, who happen to be brothers-in-law, Panos and Michalis, set off from Thessalonica?s industrial belt full of high spirits. They are heading for the island of Thassos to join their families, who are spending the summer there. Only somewhere along the way they accidentally meet a beautiful girl and Panos ?illness? will lead to the travels suspension. The third brother-in-law, Antonis, worried hasted to ?receive? them. The new matter?s uncovering and the new situations shake the relations between them even more. Comical situations, clever dialogues and actors matched with their roles. | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| ����������������������������������������������������������������������������������� By Fotis Dimoulas | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| ?Women please don?t cry? | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| By Stavros Tsiolis, Christos Vakalopoulos | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| ���� One of the wackiest comedies by Stavros Tsiolis ?92- it has won a number of national awards. A most cheerful entertaining and at the same time relaxing film. The starring role is played by Argiris Bakirtsis ?Winter Swimmers- Tsiolis most actor. In the summer of 1992 two famous hagiographers (astronomers) from Athens arrive in a small village in Arcadia with a goat to vest orate the wall painting of a is the century Byzantium Church. As the film slowly evolves into winter we see that our two main characters do now accomplish their goal and move townward towards the sea until the end of the winter season. The film follows the well known style of Tsiolis films such as ? Irrefutable Lovers ?1988-) A contradictory balance between comedy and tragedy. Nothing is what it seems, and nothing seems what it is. A film, which helps us to escape from the monotony of our rational explanations of life. | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| �By Holeva Zaharoula | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| Poisonous Women | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| By Nikos Zervos | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| Cast:Spyros Papadopoulos, Ilias Logothetis, Harri Klinn | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| ���� If you think that life is simple, then you are really mistaken because disaster is really closed to happiness. At least that is what Nikos Zervos is trying to tell us with his movie. He is describing all the troubles of a very successful and wealthy psychiatrist from the moment when his life suddenly starts to collapse by a series of hysterical situations, He will lose every control of his life and all those surrealistic events that take place will force everybody to throw themselves into the battle for survival. | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| ����������������������������������������������������������������������������������� By Paschos Odysseas | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| Shakespeare in Cinema | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| �amlet | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| By Lawrence Olivier | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| Cast: Lawrence Olivie, Piter Kasing, Tzin Simons | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| ��� Among the many movies based on the plays by William Shakespeare, Hamlet by Lawrence Olivier is distinguished thanks to the respect that Olivier showed on Shakespeare?s play and the innovations that he used during the writing of the script and the process of directing the film. Taking advantage of his great theatrical experience on Shakespeare?s plays, he didn?t hesitate to adjust the play to his own standards. He preferred to focus on the psychology of Hamlet even if this meant that he would have out of the film essentials characters like Rosengrantz and Gilderstern. His wonderful, dark and impressive direction managed to avoid a theatrical characterization of the film despite the theatrical experience of the actors. | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| By Taloumtzis Dimitris | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| Macbeth | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| By Orson Welles | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| ����������� An imposing and magnificent interpretation of Shakespeare?s theatrical play in the cinema by Orson Welles. The expenses for the film?s production, were poor, the spare days were few. All these forced Welles to curtail the action of the original theatrical play, setting aside subordinate characters. He created an imposing and one dimensioned Macbeth, who dominates all the time on the screen (something which doesn?t happen on the theatrical stage). Welle?s Macbeth, though in its time accepted negative critical remarks, has its own charm and power, because of the difficulties which Welle?s defended. And this is one more proof of the difficulties transformation to create inspiration. | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| ����������������������������������������������������������������������������������� By Fotis Dimoulas� | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| Kumunosu-10 | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| By Akira Kurosava | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| ����������� The transformation of Shakespeare?s Macbeth by Kurosava in its Japanese middle-aged interpretation. | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| ����������� Kurosava follows faithfully Shakespeare?s play, from which has been deprived each theatrical element and has emphasized the violence and the cruelty. The violent scenes and the static and dramatic scenes of the director coexist with a perfect way in the film, which may not express the play?s epic dimension, but elevate the KUMONOSU-10 and emphasize the impressive direction. The strong lights and shades, the gray color and the rain falling gives a strange sensation. In the last screen the static and the moving join together, giving to the drama all its dialectical and historical dimension. | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| ����������������������������������������������������������������������������������� By Fotis Dimoulas | |||||||||||||||||||||||||||||||||||||||||||||||||||||
| Program | |||||||||||||||||||||||||||||||||||||||||||||||||||||
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