Topio stin omichli (1988)

Director:

Theodoros Angelopoulos

Writers:

Theodoros Angelopoulos (story)
Tonino Guerra (writer)

Release Date:

10 September 1988 (Greece)

Genre:

Drama

Plot:

Road movie about two children (Voula and Alexandre) searching for their father who is supposed to live in Germany...

Plot Keywords:

Actor | Death | Child | Rape | Bus

Awards:

4 wins & 3 nominations

Cast

Michalis Zeke	...	Alexandros
Tania Palaiologou	...	Voula
Stratos Tzortzoglou	...	Orestis
Eva Kotamanidou
Aliki Georgouli
Vassilis Kolovos	...	Truck Driver
Vassilis Bouyiouklakis
Ilias Logothetis	...	Seagull
Vangelis Kazan
Stratos Pahis
Mihalis Giannatos	...	Train Station Guardian
Kiriakos Katrivanos
Grigoris Evangelatos
Giannis Fyrios
Nikos Kouros

Also Known As:

Τοπίο στην ομίχλη (Greece)
Landscape in the Mist
Paesaggio nella nebbia (Italy)
Paysage dans le brouillard (France)
Topio stin omihli (Greece) (alternative transliteration)

Runtime:

USA:127 min

Country:

France | Greece | Italy

Language:

Greek

Colour:

Colour

Aspect Ratio:

1.33 : 1

Sound Mix:

Mono

Certification:

South Korea:15 | Iceland:L | Finland:K-10 | Singapore:PG

Company:

Basic Cinematografica

Deliberate emotional complexity

A hard film to watch but an unforgettable experience. I was deeply moved by the damage done to these children in the raw, emptiness of the world of this film. Running away through Greece to seek out their theoretical father in an imagined Germany, they experience confusion, violation confusion and epic indifference to their real and imagined needs. Momentary relief and hope is found in the form of a young man travelling with a theater company, but it is fleeting. The sheer simplicity of their need remain together and to go to Germany is, by the end, all that they have.

Angelopoulos, like other artists/poets/philosophers in film, has a very specific vision of the world which he is relating. There are moments in Landscape In The Mist where our trained needs for (Hollywood) film conventions, story structure and even simple answers cries out. Yet this is far from his intent; as with poetry, the film strives to state itself with images and ideas which leave the viewer not simply awed by beauty but also perplexed and emotionally disorganized as to how or what to to feel. To judge Angelopoulos on the same standards as a showbiz product is to miss the point. He believes film is art and not necessarily entertainment. One may dislike that vision but one will invariably be enriched by the journey if one can spend the time watching it with an open mind. Angelopoulos finds funding for his films and makes them for those who care to extend themselves into someone else's vision, not to reward investors by meeting a market need. He is a powerful artist. There are reasons why his films are not well known in the US, but those reasons are also what makes them fascinating, brilliant and rare experiences.