Συνεχίζοντας την παράδοση που ξεκίνησε το Attenberg πριν τρία χρόνια (και συνεχίστηκε την επόμενη χρονιά με τις Άλπεις), μια ακόμη Ελληνική ταινία έφυγε με κάποιο βραβείο από το φεστιβάλ της Βενετίας. Το Miss Violence του Αλέξανδρου Αβρανά κατάφερε μάλιστα κάτι πολύ σπάνιο για τα δεδομένα του φεστιβάλ, να κερδίσει και το Βραβείο πρώτης ανδρικής ερμηνείας για τον Θέμη Πάνου και τον Αργυρό Λέοντα για την σκηνοθεσία του Αβρανά. Ας Ρίξουμε μια ματιά όμως στις κριτικές που γράφτηκαν από όλα τα έγκριτα (sic) κινηματογραφικά site για το Miss Violence την εβδομάδα που μας πέρασε.
Variety - New Greek cinema has been so flooded of late with fun-for-the-whole-family nightmare narratives that this one has limited capacity to shock, but a committed tone and immaculate craft should ensure ample fest exposure for the pic’s predictable perversions.
Hollywood reporter - But attentive audiences will have long figured out what’s up and what’s most disturbing about the film is indeed its placid, almost non-descript surface -- also echoed in the production design and camerawork -- and the knowledge that unspeakable things are happening offscreen and behind closed doors. As the initial enigma slowly gives way to certainty, tension deflates but Avranas still has his painfully logical ending up his sleeve that keeps everything appropriately in the family.
Screen Daily - Miss Violence is one of those films you wish you could erase from your mental hard disk after the screening, so disturbing is its tale of an abusive father’s devious sexual, physical and psychological control over the rest of his family. But at the same time, it’s impossible not to acknowledge second-time Greek director Avranas’ directorial bravura in making his own firm, cold grasp of his material and story mirror the iron grip of his pater familias antagonist.
Indiewire - Those for whom the film isn't spoiled, however, will be left with one of the most powerful experiences we've had in a theater for a long time. On the back of a brace of impeccable performances—Panou's complex, brutish, but not unloving father figure looks to be a frontrunner for Best Actor here in Venice, while Rossinou's Stepfordish mask hiding an innocence she was never allowed to hang on to for long is particularly memorable—Avranas makes a claim to be considered among the top ranks of international filmmakers. If enough people can stomach the film, anyway... [A-]
Little White Lies - Miss Violence eventually reveals itself as a trenchant anti capitalist screed in which the pursuit of money to insure the preservation of the domestic idyll rages on despite the fact that no-one is actually benefiting from it in any way. It's a somewhat blunt and righteously angry admonishment of the Greek state, but its shocking exploration of economic debasement helps retain the momentum right up to it's shocking double denouement.
Flix - Πιο δυνατό όταν υπονοεί παρά όταν γίνεται περιγραφικό, πιο αποτελεσματικό στις σιωπές του παρά στις εκρήξεις του και πιο στιβαρό όταν η καταγγελτική του διάσταση δεν γίνεται υπερβολικά προφανής και η φόρμα του δεν το εμποδίζει να αφεθεί στο συναισθηματισμό, το «Miss Violence» διαθέτει το ρυθμό και την υποκριτική δύναμη από όλο το καστ (ξεχωρίζουν η Ρένη Πιττακή στο ρόλο της μητέρας και η καταπληκτική σε όλες τις τις μεταπτώσεις του χαρακτήρα της, Ελένη Ρουσσινού) για να αποτελέσει μια δυνατή κινηματογραφική εμπειρία και μαζί ένα κοινωνικοπολιτικό σχόλιο όχι για την Ελλάδα της κρίσης, αλλά για μια κοινωνία σε απόλυτη κρίση αξιών.
CineVue - Miss Violence is a well-shot, adequately-acted film, but is also - much to its great shame - a cliché-ridden slice of miserablist European exploitation.
Flickfeast - Overall, Miss Violence is loyal to its Greek roots but should have perhaps tried something a little different. If you are new to contemporary Greek cinema then this is definitely worth exploring and is a very interesting film with superb performances. But if you are familiar already, then don’t expect too much from this, but still a good addition to the Greek cinema canon.
Και παρακάτω ακολουθούν οι αντιδράσεις της πρώτης προβολής την προηγούμενη Κυριακή όπως τις διαβάσαμε στο Twitter.
Variety - New Greek cinema has been so flooded of late with fun-for-the-whole-family nightmare narratives that this one has limited capacity to shock, but a committed tone and immaculate craft should ensure ample fest exposure for the pic’s predictable perversions.
Hollywood reporter - But attentive audiences will have long figured out what’s up and what’s most disturbing about the film is indeed its placid, almost non-descript surface -- also echoed in the production design and camerawork -- and the knowledge that unspeakable things are happening offscreen and behind closed doors. As the initial enigma slowly gives way to certainty, tension deflates but Avranas still has his painfully logical ending up his sleeve that keeps everything appropriately in the family.
Screen Daily - Miss Violence is one of those films you wish you could erase from your mental hard disk after the screening, so disturbing is its tale of an abusive father’s devious sexual, physical and psychological control over the rest of his family. But at the same time, it’s impossible not to acknowledge second-time Greek director Avranas’ directorial bravura in making his own firm, cold grasp of his material and story mirror the iron grip of his pater familias antagonist.
Indiewire - Those for whom the film isn't spoiled, however, will be left with one of the most powerful experiences we've had in a theater for a long time. On the back of a brace of impeccable performances—Panou's complex, brutish, but not unloving father figure looks to be a frontrunner for Best Actor here in Venice, while Rossinou's Stepfordish mask hiding an innocence she was never allowed to hang on to for long is particularly memorable—Avranas makes a claim to be considered among the top ranks of international filmmakers. If enough people can stomach the film, anyway... [A-]
Little White Lies - Miss Violence eventually reveals itself as a trenchant anti capitalist screed in which the pursuit of money to insure the preservation of the domestic idyll rages on despite the fact that no-one is actually benefiting from it in any way. It's a somewhat blunt and righteously angry admonishment of the Greek state, but its shocking exploration of economic debasement helps retain the momentum right up to it's shocking double denouement.
Flix - Πιο δυνατό όταν υπονοεί παρά όταν γίνεται περιγραφικό, πιο αποτελεσματικό στις σιωπές του παρά στις εκρήξεις του και πιο στιβαρό όταν η καταγγελτική του διάσταση δεν γίνεται υπερβολικά προφανής και η φόρμα του δεν το εμποδίζει να αφεθεί στο συναισθηματισμό, το «Miss Violence» διαθέτει το ρυθμό και την υποκριτική δύναμη από όλο το καστ (ξεχωρίζουν η Ρένη Πιττακή στο ρόλο της μητέρας και η καταπληκτική σε όλες τις τις μεταπτώσεις του χαρακτήρα της, Ελένη Ρουσσινού) για να αποτελέσει μια δυνατή κινηματογραφική εμπειρία και μαζί ένα κοινωνικοπολιτικό σχόλιο όχι για την Ελλάδα της κρίσης, αλλά για μια κοινωνία σε απόλυτη κρίση αξιών.
CineVue - Miss Violence is a well-shot, adequately-acted film, but is also - much to its great shame - a cliché-ridden slice of miserablist European exploitation.
Flickfeast - Overall, Miss Violence is loyal to its Greek roots but should have perhaps tried something a little different. If you are new to contemporary Greek cinema then this is definitely worth exploring and is a very interesting film with superb performances. But if you are familiar already, then don’t expect too much from this, but still a good addition to the Greek cinema canon.
Και παρακάτω ακολουθούν οι αντιδράσεις της πρώτης προβολής την προηγούμενη Κυριακή όπως τις διαβάσαμε στο Twitter.
Alexandros Avranas's MISS VIOLENCE is brilliantly made gruelling Greek family portrait. Probably the strongest film here so far #venice2013
— Nick James (@filmnickjames) September 1, 2013
Γιουχαΐσματα στην πρώτη προβολή του Miss Violence του Αλέξανδρου Αβρανά.
— Tasos H. (@JohnTikis) September 1, 2013
Miss Violence: some disturbing stuff in the "greek nouvelle vague" style, but tedious and debatable #Venezia70
— Gabriele Capolino (@gabrielecapo) September 1, 2013
Kynodontas, Attenberg and now Miss Violence by Alexandros Avranas... What the fuck has been happening in Greece? #Venezia70
— Enrico Vannucci (@hypervan) September 1, 2013
Miss Violence is bleak Greek genius in the Dogtooth vein: a grim drama of closed doors and the things that happen behind them #Venezia70
— Robbie Collin (@robbiereviews) September 1, 2013
MISS VIOLENCE: brilliantly controlled storytelling, finely tuned perfs. A tough, tough watch, but poss best of the fest so far. #Venezia70
— olilyttelton (@olilyttelton) September 1, 2013
Miss Violence: a morbid, occasionally unwatchable dissection of another abusive Greek family. Exploitative #Venezia70 @CineVue
— John Bleasdale (@drjonty) September 1, 2013
Miss Violence: miserablist cliches abound in a traumatic but ultimately pointless trawl thru abuse #Venezia70 @CineVue
— John Bleasdale (@drjonty) September 1, 2013
MISS VIOLENCE is the most uncomfortable watch of the fest so far. It's nature of exploitation will be too much for some. #Venezia70
— Ken Adams (@TaybackX) September 1, 2013
MISS VIOLENCE (Avranas) Dog2ooth? Liked its horror/monster movie hustle, but unsure of its credibility as political critique. #Venezia70
— David Jenkins (@daveyjenkins) September 1, 2013
MISS VIOLENCE's Themis Panou perhaps the main danger to Christoph Waltz for Best Actor at #Venice70. Full odds http://t.co/zU4lXGpSEV
— Neil Young (UK) (@JigsawLounge) September 1, 2013
Imagine how great MISS VIOLENCE would have been in a pre-Lanthimos world. Still, pretty good and best of Competition so far #Venezia70
— Tommaso Tocci (@Cinelais) September 1, 2013
#MissViolence purely overwhelming. #Venezia70
— Chiara Spagnoli (@clairespanish) September 1, 2013
MISS VIOLENCE: another Greek Dogtooth, but this time with rabies, and at times unbearable. A worrying reflection on the economy... #Venice
— Kate Muir (@muirkate) September 1, 2013
MISS VIOLENCE: visually pastel and highly disturbing abit like being overwhelmed by an avocado suite #venezia70
— Filmuforia.com (@filmuforia) September 1, 2013
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