a film, a text, a painting, a funeral song
ένα κείμενο, ένα φιλμ, ένας πίνακας, ένα μοιρολόι
για το αποτρόπαιο:
“The Dust of Time”
Angelopoulos describes himself as an intermediary who turns pre-existing stories into reality.
Angelopoulos did not say much by way of introduction, but he responded well to the many questions put to him.
He talked about commercial cinema which targets a large audience and also about the kind of cinema that tries to find an audience and communicate with people of particular sensitivity.
He described his student years as “a time of absolute innocence and a visionary relationship with the future which no longer exists.”
When discussing critics and criticism, he was unable to hide a tone of bitterness and anger: “Filmmakers are not chosen by critics or the audience. They are chosen by time.”
He commented on his films, the chapters of a long story on human destiny, on the time that has already passed and that which is now transpiring as well as the current era.
“We are experiencing a time with a closed horizon. It is the most locked-up period I have experienced, it is a 100 percent foggy landscape. We are living in a world that has no idea where it is heading.”
Next project Angelopoulos said he was the intermediary for turning existing stories into reality.
For the first time, he revealed the provisional title of his next film, “Tomorrow,” but refused to say more about it. “An idea needs to sleep until it is born. If you shake it, it is destroyed.”
“The Dust of Time” is described as a story without borders, a review of the past century through a love that challenges time.
“I hope the film will be seen for what it is and not as something else,”
he said, ending the meeting, two days before the film’s Athens premiere and three days ahead of its screening at the Berlin Film Festival.
The scenario is about an American director of Greek ancestry who is making a film that tells his story and the story of his parents.
It is a tale that unfolds in Italy, Germany, Russia, Kazakhstan, Canada and the United States.
The main character is Eleni, who claims the absoluteness of love.
The film is also a long journey into the vast history and the events of the last fifty years that left their mark on the 20th century.
The characters in the film move as though in a dream with the dust of time confusing memories.
Source Text: ANA–MPA – E-Kathimerini
Source Image: Christophe Penchenat
Through references to the Thebaid cycle, the three films that make up Theo Angelopoulos’ “Trilogy” follow the destiny of Hellenism as recorded in the relationship of two people, who first meet as children in 1919 during the flight of the Greeks from Odessa, only to lose each other and find each other again in different time periods in different parts of the world, living through the great historic events of the 20th century and the turn of the 21st.
The second film of the trilogy is entitled “THE DUST OF TIME” and takes place in the former Soviet Union, the Austrian-Hungarian borders, Italy and New York between 1953 and 1974, from the eve of Stalin’s death to Nixon’s resignation in the United States and the fall of the Greek junta.
The shootings of the film took place in Greece, Kazakhstan, Russia, Italy and Germany and finished in February 2008. It is a Greek-German-Italian-Russian co-production. Many international actors participate in the film such as: Willem Dafoe, Irene Jacob, Bruno Ganz and Michel Piccoli.
Source Text: CL productions
Τρεις μεγάλες γερμανικές εφημερίδες δημοσιεύουν σήμερα στις επιφυλλίδες τους κριτικές για το καινούργιο φιλμ του Θόδωρου Αγγελόπουλου η ‘Σκόνη του Χρόνου’.
“Και τώρα σταθείτε μια στιγμή”, τιτλοφορεί την κριτική της η εφημερίδα Die Welt:
“Ο μεγάλος δάσκαλος της σκηνοθεσίας Τέο Αγγελόπουλος αφήνει τους σταρ να ‘αλλάζουν’ στη σκόνη του χρόνου.”
“Σήμερα που κινηματογραφική πραγματικότητα σημαίνει γρήγορες, αγχώδεις σκηνές τα μεγάλα, αργά πλάνα του Αγγελόπουλου φαντάζουν ενοχλητικά, ξένα -και ας είμαστε ειλικρινείς- πιο κουραστικά από ό,τι στη δεκαετία του ’70, όταν έγινε διάσημος ο Αγγελόπουλος με ταινίες, όπως ο ‘Θίασος’. Η αποξένωση αυτή ενισχύεται στην ταινία ‘η Σκόνη του Χρόνου’ κυρίως με τη συχνή χρήση της κάμερας που ακολουθεί φιγούρες με γυρισμένη την πλάτη.”
“Η γη δακρύζει στην Πύλη του Βραδεμβούργου – εικόνες αποχαιρετισμού του 20ου αιώνα” είναι ο τίτλος της κριτικής της Süddeutsche Zeitung που αναλύει το στίγμα της σκηνοθετικής πορείας του Αγγελόπουλου για να καταλήξει:
“Η κινηματογραφική δημιουργία του Αγγελόπουλου άρχισε με ιστορικές τραγωδίες και ολοκληρώνεται σαν ένα άλμπουμ αναμνήσεων. Είναι άδικο που η ‘Σκόνη του Χρόνου’ παίζεται εκτός ανταγωνισμού”.
“Περίπατος αναμνήσεων” είναι τέλος ο τίτλος της κριτικής στην Frankfurter Allgemeine Zeitung:
“Η Σκόνη του Χρόνου είναι μια πολύ αργή ποιητική περιδιάβαση, φορές – φορές φαίνεται το στίγμα της κάπως ακαθόριστο, αλλά στις καλύτερές της στιγμές έχει σκηνοθετηθεί σαν ένας περίπατος αναμνήσεων”.
for info’s in Greek refer to The Uncut’s Store Weblog
Past and present intertwine as A., a film director in his fifties finds himself becoming a part of the film he is making, a chronicle of the tumultuous life and enduring love of his parents Spyros and Eleni. The historical events that marked their lives have their present day parallels. For Spyros and Eleni it was the Second World War which separated them after he immigrated to America in search of a better life as a musician and the Greek civil war that kept them apart when she ended up in the Soviet Union along with other political exiles. For A. it is the Vietnam War, which forces him to flee to Canada and the fall of the Berlin Wall, which signals the birth of a new era.
A. himself was conceived on the day of Stalin’s death in the brief moment his parents had together when Spyros went to Tashkent – illegally with another man’s name – in the hope of smuggling his beloved out of the Soviet Union. Caught by the police Spyros is arrested and Eleni sent to Siberia where she is reunited with Jacob, the German Jew she first met in Tashkent and a pivotal figure in both her life and Spyros. Throughout her ordeal in Siberia he never leaves her side even when it comes to choosing between joining the other Russian Jews heading for Israel in 1974 or following Eleni to New York where she goes in search of Spyros. For Jacob the choice was a bitter one since Spyros and Eleni are ultimately reunited. The new life that Spyros has made for himself and which Eleni discovers, cannot keep him apart from her and he follows her to Toronto where she has gone to be with her son. A. was only a little boy when his mother had managed to get him out of Siberia and sent him with Jacob’s sister to his father in the United States.
Years later, in Berlin where he now lives A. greets his parents who arrive from the States. It is their first stop on their way to Greece after deciding to return home. There is an emotional reunion with Jacob, who had since returned to Germany and comes to greet them. The three of them wonder in the streets of Berlin caught up in the New Year’s Eve festivities, and dance to the music. But their joy is marred by the news that A.’s troubled young daughter Eleni has disappeared. A. had been desperately and unsuccessfully searching for her. When the police finally locate her she is perched on the railing of a bridge at the intersection of two highways. It is the first time we see young Eleni and it is her grandmother, the other Eleni, who finally talks her into coming down off the railing as A., his estranged wife and the police stand helplessly by. But the toll on the old woman, who has already shown signs she is unwell, has been too great and she collapses. In A.’s apartment where they have taken her, Jacob comes to see her but finds her asleep. The final scene between the three is played out. With Eleni asleep in the next room Jacob and Spyros share one last drink like in the old days in New York. It is the final parting. An emotional embrace and Jacob leaves.
On the riverboat carrying him away in the rain Jacob goes up to the deck. Tormented by the memories of his recent voyage of memory to Poland to the camp where his parents died and letting go of the only woman he has ever loved. Slowly he lets his body slip into the empty space and disappear in the swirling waters of the river. Back in the apartment Eleni has risen and is setting the table, a place for each of her loved ones. She calls out to Jacob but he is not there. Finally she collapses with a look of peace on her face. By the time A. comes with a doctor it is too late. Spyros approaches his dead wife calling out her name and saying he has come to take her but it is with young Eleni that he walks hand in hand through the open balcony door, and out onto the avenue that stretches out before them, airy and fluid as a watercolor…
Source: Cinema Soleil
The first public performance
of the Dance Theme for Angelopoulos’ new film
“I skoni tou hronou” (The dust of time)
“Για εμάς ηθικό είναι ό,τι είναι επαναστατικό.
Άρα, ο κινηματογράφος, αληθινή μήτρα εξέγερσης,
δεν γίνεται δεκτός ηθικά,
παρά μονάχα όταν πασχίζει να καταστρέψει κάθετι
το “παραδοσιακά ηθικό”, το αντεπαναστατικό,το αντικοινωνικό,
το αντιερωτικό,το βίαια αντιδραστικό.”