Director of Photography
Кадры с небольшой верфи где-то в Греции. Вода, тела, веревки, цепи, дерево и металл в кинопоэме, снятой на черно-белую 16 мм пленку. Несколько человек вытаскивают лодки на берег и сталкивают обратно в воду после ремонта. Это промежуточное состояние – сложное, но нежное время. Оно подобно хоровой интермедии в древней трагедии, состоит из жестов и движений, которые колеблются от близости к разделенности, от привязанности к отчужденности, от напряжения к нежности.
Producer
Кадры с небольшой верфи где-то в Греции. Вода, тела, веревки, цепи, дерево и металл в кинопоэме, снятой на черно-белую 16 мм пленку. Несколько человек вытаскивают лодки на берег и сталкивают обратно в воду после ремонта. Это промежуточное состояние – сложное, но нежное время. Оно подобно хоровой интермедии в древней трагедии, состоит из жестов и движений, которые колеблются от близости к разделенности, от привязанности к отчужденности, от напряжения к нежности.
Screenplay
Кадры с небольшой верфи где-то в Греции. Вода, тела, веревки, цепи, дерево и металл в кинопоэме, снятой на черно-белую 16 мм пленку. Несколько человек вытаскивают лодки на берег и сталкивают обратно в воду после ремонта. Это промежуточное состояние – сложное, но нежное время. Оно подобно хоровой интермедии в древней трагедии, состоит из жестов и движений, которые колеблются от близости к разделенности, от привязанности к отчужденности, от напряжения к нежности.
Director
Кадры с небольшой верфи где-то в Греции. Вода, тела, веревки, цепи, дерево и металл в кинопоэме, снятой на черно-белую 16 мм пленку. Несколько человек вытаскивают лодки на берег и сталкивают обратно в воду после ремонта. Это промежуточное состояние – сложное, но нежное время. Оно подобно хоровой интермедии в древней трагедии, состоит из жестов и движений, которые колеблются от близости к разделенности, от привязанности к отчужденности, от напряжения к нежности.
Producer
The Idomeni refugee camp housed people from the Middle East who were trying to cross the border into Europe. When the Greek police closed the camp, the refugees resisted and blocked a railway line used to deliver goods. Maria Kourkouta’s minimalist documentary not only observes these events but also presents carefully modeled static images that open up the space within and without the frame of view, and in the closing black-and-white sequence offers a poetic commentary. The result is a bleak portrait of a place where endless lines of refugees try to preserve the final remnants of their individual freedoms. “This film is a call to welcome the refugees that cross the European borders, as well as the ghosts that return with them.”
Editor
The Idomeni refugee camp housed people from the Middle East who were trying to cross the border into Europe. When the Greek police closed the camp, the refugees resisted and blocked a railway line used to deliver goods. Maria Kourkouta’s minimalist documentary not only observes these events but also presents carefully modeled static images that open up the space within and without the frame of view, and in the closing black-and-white sequence offers a poetic commentary. The result is a bleak portrait of a place where endless lines of refugees try to preserve the final remnants of their individual freedoms. “This film is a call to welcome the refugees that cross the European borders, as well as the ghosts that return with them.”
Director of Photography
The Idomeni refugee camp housed people from the Middle East who were trying to cross the border into Europe. When the Greek police closed the camp, the refugees resisted and blocked a railway line used to deliver goods. Maria Kourkouta’s minimalist documentary not only observes these events but also presents carefully modeled static images that open up the space within and without the frame of view, and in the closing black-and-white sequence offers a poetic commentary. The result is a bleak portrait of a place where endless lines of refugees try to preserve the final remnants of their individual freedoms. “This film is a call to welcome the refugees that cross the European borders, as well as the ghosts that return with them.”
Script
The Idomeni refugee camp housed people from the Middle East who were trying to cross the border into Europe. When the Greek police closed the camp, the refugees resisted and blocked a railway line used to deliver goods. Maria Kourkouta’s minimalist documentary not only observes these events but also presents carefully modeled static images that open up the space within and without the frame of view, and in the closing black-and-white sequence offers a poetic commentary. The result is a bleak portrait of a place where endless lines of refugees try to preserve the final remnants of their individual freedoms. “This film is a call to welcome the refugees that cross the European borders, as well as the ghosts that return with them.”
Director
The Idomeni refugee camp housed people from the Middle East who were trying to cross the border into Europe. When the Greek police closed the camp, the refugees resisted and blocked a railway line used to deliver goods. Maria Kourkouta’s minimalist documentary not only observes these events but also presents carefully modeled static images that open up the space within and without the frame of view, and in the closing black-and-white sequence offers a poetic commentary. The result is a bleak portrait of a place where endless lines of refugees try to preserve the final remnants of their individual freedoms. “This film is a call to welcome the refugees that cross the European borders, as well as the ghosts that return with them.”
Director
Insignificant fragments, reworked, reassembled, slowed down, put in loops, of Greek popular movies of the 50s and 60s. These fragments are accompanied by short extracts of poems written by Greek authors and by Manos Hadjidakis'music. It is a found footage movie, a collage which evokes a return journey to contemporary Greece, in the center of Athens. – Light Cone
Music
The tale of an encounter...
Director
A short film by Maria Kourkouta.
