Amercement (2020): Drama

A small-time drug dealer struggles to get a legitimate job and, before knowing it, he dives deeper and deeper into the criminal world.

A reality that doesn’t sound like Greek to any Greek. Co-writer/director Fokion Bogris captures through his lens the reality of the Athenian streets and the petty, unorganised crime like few have before him. From a narrative’s point of view, using profusely “lowlifes”, Bogris challenges toxic masculinity, personal and social insecurities, and homophobia through characters that have loads to hide and plenty to lie about. Everyone wants to “score big” or live the “easy life” with the least possible effort, crossing the lines of immoral and illegal without even realising it or caring about it.

From a filmmaking point of view, he creates a neo-noir atmosphere and a sense of realism that numerous members of the Greek audience will identify themselves with. While “realism” in film theory is a subject that opens a lot of cans of worms that make theorists (endlessly) argue with each other, in this instance, what I mean is that, through its minimal editing, it reduces the shot-reverse-shot techniques and, depending on the subject matter, it focuses on either the action or the reaction. In either case, both become – intentionally or unintentionally – funny as, more often than not, the characters’ close-ups express the intended feelings. The same applies when all characters are included in the shot and the audience gets to experience everyone’s feelings simultaneously. Add the colossal amount of slang and vulgar language to the mix and the result enhances the realistic effect to the point of surrealism; a movement that, arguably, can characterise numerous societies nowadays.

That particular filmmaking path, paved initially by writer/director Yannis Economides, has upped the game for the Greek cinema and the Greek filmmakers and has given the actors the opportunity to express themselves in a way they struggled to do before, present society in a way that could not be really presented before, and make a statement that the Greek cinema can be as competitive and daring as anybody else’s. Having said that, that school of thought wouldn’t exist now if filmmakers such as Theodoros Angelopoulos, Pantelis Voulgaris, Constantine Giannaris, and Panos H. Koutras (and many more) hadn’t offered so much to the film industry.

Finally, the last round of applause goes to the cast that shines in front of the camera: Vagelis Evangelinos, Stathis Stamoulakatos, Maria Baloutsou, Vasilis Anastasiou, and Sissy Toumasi.

Amercement is definitely worth your while as it’s an eye-opener, “welcoming” its audience to the dark side of the… world as you know it.

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Solidarity for Ukraine πŸ‡ΊπŸ‡¦ πŸ™

Stay safe!

Ballad for a Pierced Heart (2020): Comedy / Crime / Drama

After stealing her husband’s money, a woman and her lover flee to a small town, but greed, passion, and a series of wrong choices turn everything upside down.

Even though I’ve said it before, I’ll say it again: Yannis Economides is the best Greek / Greek Cypriot actor’s director alive. No one comes even near in the second place. He allows them to improvise to the highest degree, as he allows maximum profanity. This adds to his films’ realism and makes them unique additions to the modern Greek cinema, a cinema that, unfortunately, suffers from wooden acting and writing – even though I must say that, fortunately, this is constantly improving. No matter what, Economides leads the way.

The Ballad for the Pierced Heart, like every other film of his, is structured the way the narrative dictates to be. The three-act structure provides the formula that will lead you from A to B but the dialogue always prevails and, regardless where the A or B stand, it is everything that is said and done in between that matters.

The Ballad was quite unlucky as the moment it came out the pandemic was announced and cinemas shut down. Very highly recommended! It combines neo-noir elements with a Greek reality that is nowhere to be found in the Industry. When the end credits start scrolling and the enthusiasm starts fading, one realises that… OK… certain dialogue and circumstances were a bit surrealistic. How much that matters? Not a tad!

Other than Economides, all his crew deserves a round of applause as it does the brilliant cast: Vicky Papadopoulou, Vassilis Bisbikis, Stathis Stamoulakatos, Yannis Tsortekis, and the rest of the professional and non-professional actors who shine in front of the lens. Well done, everyone!

Shay safe!