Someone is sad, or cries*

 

A wealthy Athenian writer on holiday on Hydra falls for the morose Marina (Ellie Lambeti), one of the daughters of his widowed innkeeper, causing disruption in the close-knit island community.

 

* the Bales 2025 Film Challenge for July is, for unknown reasons, mostly not date-related and follows some sort of vacation narrative.

Testosterone! for Top Gun Day (USA)

 

The Ζεϊμπέκικο (Zeibekiko) is a Greek dance, improvised by one man, alone. It's a dance that shows the performer's manliness, both his pride and his sorrows. Out of respect for the dancer, the others sit down, watch, and relate to him.

 

When the police enters the establishment – and this is 1973, the colonels ruled the naton – and interrupt the dancer, his older brother steps in.

Something something Greece (or the Olympics) on the date of the 1896 Summer Olympics

 

Athens seen through words put down in letters, forming a narrative of the city, Greece, its history, and its people.

Convicts: a convict settlement in Sydney Cove on January 26, 1788 marks what is considered the founding of Australia.

The first film dinner of 2024.

New Year's Eve celebrations.

 

A mousy bank clerk (Dinos Iliopoulos), who bears an uncanny resemblance to a criminal on the run, finds himself hiding in a shady cabaret on New Year's Eve instead of spending a quiet evening alone. During his forced stay at the nightclub, he comes to enjoy and identify more and more with his newfound persona and assumes the role of the notorious “Drago”.

 

An initial box office dud, it is now considered one of the top ten all-time best Greek films.

 

Happy new year, everyone! On to many more cinematic discoveries!

Slow cinema of a different kind. We spend long hours in the company of a father (Vasilis Diamantopoulos) and his sons Sakis (George Dialegmenos), Nikos (Dimitris Poulikakos), and Giannis (Nikitas Tsakiroglou). The four of them – rich, bourgeois – have inherited a country villa and the plan is to do nothing for the next seven years. No work, no unnecessary movements. There's #sleep, lots of it. And copious amounts of food prepared by maid Sofia (Olga Karlatos) – she comes with the house; chattels personal – in addition of her body to be consumed by the increasingly idle men.

“Do you want to work? What a nightmarish idea”

Οι Τεμπέληδες της Εύφορης Κοιλάδας is a slow satire, quietly addressing Greek #class struggle through the viewer's observation. Who do we follow? The father, who quickly surrenders to sloth; the sons – young, with their whole lives ahead of them; the maid – never questioning her position and slavishly fulfilling her duties of the flesh, in bed and in the kitchen?

 

The similarities are there but unlike Marco Ferreri's La grande bouffe (1973), there's no culmination in decadence. No euphoria to speak of. No grand release either; while the camera roams the mansion, attuned to #Mahler's tone poem Symphony No. 1 [Titan] – our only clue of the passing of time; even the vegetation succumbs to ennui – the story plods on. One of the men gets dressed, to go to work. It's foolish.