As a film enthusiast who’s spent countless hours in dark cinemas across the globe, I must say that this year’s Thessaloniki Film Festival promises to be a captivating ride, especially considering the tumultuous times we live in. With the world on edge due to wars, political uncertainties, and climate change, it’s comforting to know that festivals like these continue to thrive, providing us with a platform to reflect on our lives and society.
Despite blue skies over Greece’s second city ahead of the opening ceremony, the 65th Thessaloniki Film Festival kicks off Oct. 31 under clouds of uncertainty, with the war in Ukraine raging toward its three-year anniversary and the year-old Israel-Hamas conflict spilling into neighboring countries and threatening to engulf the entire Middle East. The U.S., meanwhile, heads to the polls next week for an election that’s been framed as a referendum on the fate of American democracy itself — with the eyes of the world watching.
For festival director Orestis Andreadakis, a long-time film critic overseeing the Thessaloniki event since 2016, international happenings have instilled an even stronger determination to seek out films that are significant. He expresses this during an interview with EbMaster on the eve of the opening night. “We need movies that resonate with our personal experiences, offer insights into our global predicament amidst numerous transformations and threats – wars, environmental crises, and the surge of far-right ideologies,” he explains.
This year’s installment of the esteemed Greek festival, taking place from October 31st to November 10th, commences with the national debut of Pablo Larraín’s Academy Award nominee “Maria,” featuring Angelina Jolie as legendary Greek opera singer Maria Callas. According to Andreadakis, she was “the most significant Greek artist of the 20th century” and “unique in her kind.” The event concludes with “The End,” a post-apocalyptic musical from Joshua Oppenheimer, starring Tilda Swinton and Michael Shannon. It centers around a select group of elites who have amassed valuable artworks and expensive wines within an underground shelter, waiting out a disaster that they may have inadvertently caused themselves.
As a passionate cinephile, I can’t help but be intrigued by the role films play as mirrors of society’s collective psyche. The festival’s special tribute program, “We, the Monsters,” masterfully curated by none other than Carlo Chatrian, a veteran in the field who has graced both Berlin and Locarno, expands our perspective to delve into how filmmakers over the decades have employed monstrous characters to articulate the enigmatic, the alien, or the “other” in ways that chillingly resonate with our modern political landscape.
According to Andreadakis, the monster is starting to look more like a reflection of who we are. “Populism,” extreme political decisions, and hostility often give rise to monstrous behavior, yet it’s chilling to realize that these monstrosities aren’t just found in the world outside us, but also lurk within us. It’s unsettling to consider that by engaging with such behaviors, tolerating them, or remaining silent, we may be contributing to our own transformation into monsters.
Andreadakis argues, echoing the words of Manos Hadjidakis, that we become like the challenges we face over time. He emphasizes the importance of an engaged citizenry staying vigilant not just against external threats, but also their own fears and prejudices. In this fight, he suggests, cinema could be a powerful tool.
During the ’60s and ’70s, there was a strong belief that cinema had the power to transform the world. While it may not be capable of reshaping the world as a whole, it can significantly influence our lives, alter our perspectives, affect how we respond in our societies, and even impact how we engage with the dramatic and tragic events happening around us.
One of the major attractions at this year’s festival is a unique showing of “The English Patient,” featuring the two leading actors, Juliette Binoche and Ralph Fiennes, who will be present. Binoche won an Oscar for best supporting actress for her role, while Fiennes was nominated for best actor. During the event, they will each receive the Honorary Golden Alexander award and attend a special screening of “The Return,” Umberto Pasolini’s adaptation of Homer’s “Odyssey.” Additionally, Matt Dillon, a renowned actor, will be honored with a lifetime achievement award in Thessaloniki. He will also present his latest film, “Being Maria,” which is Jessica Palud’s biopic of Maria Schneider from “Last Tango in Paris,” where Dillon portrays Marlon Brando.
In appreciation for his significant contributions to both Greek and global cinema, Panos Koutras, an innovative and brave filmmaker, will receive an Honorary Golden Alexander. This honor comes with a retrospective showcase of his work, featuring notable films such as “The Attack of the Giant Moussaka,” “Strella,” and “Xenia.” Elise Jalladeau, the director general of Thessaloniki Film Festival and its related documentary event, commended Koutras as an “unconventional, pioneering, and daring director” and emphasized his status as “one of the most influential voices in Greek queer cinema.
252 films, both full-length and short, will be showcased during the festival. The competitive selection boasts 12 films from promising new directors, among them are “Julie Keeps Quiet,” Belgium’s entry for the Best International Feature Film Oscar, and “Under the Volcano,” the Polish submission. Other contenders for the Golden Alexander award include “Happy Holidays,” a best screenplay winner in Venice’s Horizons category by Palestinian filmmaker Scandar Copti; “On Falling,” lauded as Best Director at San Sebastian for Laura Carreira; and “Pierce,” which won Best Director at Karlovy Vary under Nelicia Low’s direction.
The main country will showcase 22 full-length and 24 short movies, including three contenders for the top awards – Yorgos Zois’ “Arcadia,” which received the best director award at Sarajevo, Dimitris Nakos’ premiere “Meat” from Toronto, and Yannis Veslemes’ “She Loved Blossoms More” that debuted at Tribeca. In all, 18 Greek films will be premiering.
Andreadakis highlights how the Thessaloniki festival’s goal to boost and showcase local cinema is exemplified this year, as the participants demonstrate the resilience of our modest film industry. This tenacity has been evident even amidst Greece’s challenging economic downturn, which has allowed the industry to make its presence felt on a global scale.
Over the past decade and a half, a fresh wave of filmmakers has emerged who are now regularly showcased at film festivals. They release their movies globally through various digital platforms and cinemas, which fills us with optimism.
The Thessaloniki Film Festival runs Oct. 31 – Nov. 10.
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2024-10-31 15:50