UNSOLICITED CRITIQUES

#7 Matt Betinelli-Olpin & Tyler Gillett’s Scream (2022)

You can never be wrong going back to the original and gen Z should thank every single person who worked on this movie cause it is a meta fan fueled masterpiece that takes itself just seriously enough to prove that oldschool slashers are of great cinematic value and 90s may be the best decade of pop culture – god bless.

Spring (2022)

Athens and Epidaurus Festival program for 2022 was publiced yesterday and seeing my name among the program maybe birth a couple of serotonine molecules in my brain.

This is a play writen and directed by Youla Boudali, a precious theatre person in Greece that homeland hasn’t appreciated enough but I think this is going to change soon. At least I hope. I was asked to do dramaturgy for this play and assist the director to compose the dramatic atmosphere altogether, using only my tendency to experiment and my weird fixation on learning new things and link them with the ones I already know. We do have a great ensemble for cast, four young actresses who are giving their selves and learning and experimenting and becoming as we are, and five older and more experienced actors who bring the balance and the grounding to that youth raw acting force that takes everything personally and does not have limits; or boundaries for what matters.

The story is about four highschool students who want to study math, physics and chemistry back in the ’60s, in Misholongi, a kinda small but very historic greek town with a great significance for the national narrative around the Greek Revolution of 1821. The city was loved and inspired many western personalities of the era who sang her beauties and the people’s struggle, romanticizing and colonizing the earth and the humans since day one. Those acts of love to the place helped the country to form this pseudo-historic cultural messy obsession modern greece has with heroism, innocence and being the one who’s wronged.

The description on the festival’s program:
Is there a distinctly male and a distinctly female “destiny”? Are there innate proclivities and talents? Are hard science, mechanical engineering, architecture, or pharmaceutics appropriate for a girl? Spring of 1960, Missolonghi. A group of girls’ school students marches on the city streets, protesting the founding of a Vocational Boys’ Gymnasium that will exclude girls from science courses. A story of women who were born immediately after WWII in an insular, provincial town and envisioned equality with men. Girls whose agency was unusual at the time, and is still unusual today, as gender roles continue to define the dominant national narrative, superficial shifts notwithstanding. An original performance based on actual (and actually Greek) events.

Written and directed by Youla Boudali
Dramaturgy – Assistant to the director Vasiliki Lazaridou
Set design Konstantinos Kotsis
Lighting design Tasos Palaioroutas
Costume design Marli Aleiferi
Music John Tsallas, Kostas Zampos
Make-up artist Evi Zafiropoulou
Recorded texts Kostas Berikopoulos
Cast Marianna Bozantzoglou, Vangelio Andreadaki, Eli Driva, Vassilis Karampoulas, Erietta Kelly, Christina Kypraiou, Fotini Papachristopoulou, Zoe Sigalou, Thanos Tokakis

Executive production LeFou Productions / Vasia Attarian, Serafeim Radis

Here is a couple of promo photographs taken by the brilliant Myrto Tzima for the program presentation.

02/07 until 04/07/2022 at 21:00 at Peiraios 260 (E)

FESTIVAL LINK > http://aefestival.gr/festival_events/spring/?lang=en

ΑΝΟΙΞΗ

Finally, she’s here. Persephone returned to her mother.

I’m working on a play written and directed by Youla Boudali for the Athens and Epidaurus Festival. It’s placed in the ’60s 8n Mesolonghi and it’s called Άνοιξη which is Spring in greek.

Times are very hard for people like me right now. I’m happy for the new weather though. I hope I survive.

UNSOLICITED CRITIQUES

#6 Paolo Sorrentino’s The Hand of God (2021)

Allegedly, I watched hardly 12 minutes of the film and then I changed it to the news. I still cannot watch anything Sorrentino. I remember myself abandoning the cinema room having paid a full ticket during Youth after about 30 minutes and that was the longest I have ever watched anything he’s ever done.

UNSOLICITED CRITIQUES

#5 Lana Wachowski’s Matrix Resurrections (2021)

I am not even mad at those who didn’t like it, I am just sorry for their bad taste. A severely meta masterpiece with pleasing easter eggs and unapologetic attitude. The only thing missing was Lilly but a girl needs her boundaries, I get and support this 100%.

TITANE

It’s almost a month before this year ends and producers are hustling through funding sources like the National TV (ERT) and MEDIA for cash (a respectable amount) for me to make my film. And although this campaign goes significantly okay and the script is treated like a really good one that needs coherent support, here is the director of Greek Film Center rejecting it for – hear hear – being similar* to Julia Ducournau’s TITANE… And I should be angry and bitter cause I’ve been writing this piece of cinema for three year’s now but boy oh boy, don’t I love to be compared with a filmmaker and writer I admire and definitely want to impress? Oh yes I do.

*It’s not really similar tho, it just relevant to car fetishism and objectophilia or something and even that is a far fetched comparison cause the way my script (and in my opinion Ducournau’s film) is using the bond between the human and the machine may be trauma oriented and somewhat disturbing but it is mostly a form of process that tries to go from self-destruction to healing.

So here’s to Julia and to me. I’m humbled, honored and freaking excited!

TITANE (2021) – dir: Julia Ducournau
HOPEPUNK (tba) – dir: yours truly