The Panorama of European Cinema in Athens may not be well known but is now in its 18th year. Much of its anonymity lies with a funding shortage in recent years, particularly this time, which is unfortunate because the program of films, in and out of competition, was particularly good. Also, think of a film festival in Greece and one that immediately comes to mind is Thessaloniki, one of the most important in the world, and perhaps this overshadows Athens. However, support still came from the British Council (part of their long-running relationship with the Greek newspaper Eleftherotypia), Institut Francais and the European Film Academy, amongst local support.
Does Athens deserve a big film festival? It's certainly got the potential audience but I was informed that many of the old cinemas here have closed in recent years. Contemporary audiences have turned their attention away from art house or the challenging works that the Pan-European Cinema was celebrating in this 11-day film festival. Indeed, I particularly noticed excited anticipation for the Greek release of Charlie and the Chocolate Factory. The attendances for films that were in the competition (no main competition, just the FIPRESCI prize this year) or in the excellent sections: Blues, International Panorama, Journalism and Cinema, Jules Verne's spirit in the cinema, Michael Cacoyiannis, and Shorts, were small or nearly empty. The only films that seemed to garner any interest were Greek ones.
Moj Nikifor (My Nikifor) was an exceptional film, telling the true story of a homeless 'naïve' painter Nikifor Krynicki who was brilliantly played by a member of the opposite sex, Krystyna Feldman, in an astounding portrayal. The film documents two of the last eight years from his life as he was battling his deteriorating health and coping with overdue international recognition The Kryzsztof Krauze directed film (co-written by Joanna Kos (both were in attendance)) won the FIPRESCI prize because of its heartfelt depiction of the painter and of his protégé, who was also caring for him in this period at the cost of his marriage. For a digital film that was shot so cheaply, it did look breathtaking.
Another film in the festival that deserves particular mention though was Robert Guediguian's Le Promeneur du champ de Mars (The Last Mitterand), another biography of someone's last year, but in this case the more famous former President of France, with a fantastic performance by Michel Bouquet. Like My Nikifor, the film is also about someone close who has become obsessed with the subject of the film. In this case, a young leftwing journalist has been hired to write Mitterand's memoirs, but becomes totally obsessed with his role during the Vichy government in the days of German occupation in World War Two. Though a fantastic performance, like the controversial book the film is based on, both have an aftertaste of a somewhat vain and scheming President who was possibly more corrupt than he himself realised.
The I Want You actress Labina Mitevska was at the festival to promote the Macedonian film in competition, How I Killed a Saint, a film in which she both stars and produces. The film is set in 2001, during a NATO occupied Macedonia, and depicts the division this causes in communities and families. This is the first feature of her family production company, called Sisters and Brother Mitevski. Labina's sister is the director, while her brother was in charge of art direction. The family are currently in production on another film whose concerns are far removed from this one.
Valeria Golino, who has starred in American (Rain Man, Hot Shots) as well as notable European works, also appeared to introduce her new film La Guerra di Mario (Mario's War) about a woman who fosters her friend's ten-year-old boy and finds her life subsequently more chaotic than she envisaged. Antonio Capuano's film has strong performances, particularly from Valeria and the actor (Marco Grieco) playing Mario. It won the audience Panorama Prize, but then Valeria is part Greek and very well known in this country.
Mila from Mars was one of the many varied films that were in this competition. Creating its own rules, this Bulgarian film combined hand-held digital and static shots, creating a sub-Dogme effect. The central character escapes from an orphanage with her boyfriend, but he's no knight in shining armour. His violent behaviour causes her to escape from him to a border village. However, the inhabitants aren't all that they seem. Partly told in flashback with a contemporary hard-hitting club soundtrack, the film is a clashing of opposites in Bulgarian culture and it makes first time director Zornitsa Sophia's film all the more challenging and intriguing.
Gypo was of interest not just because it was a British entry, but that it is the first Dogme film from this country. First-time director Jan Dunn's story dealt with the situation of a Gypsy refugee and her mother in a British seaside town. The presence causes all forms of disruptions and prejudices in a local family that will inexorably change their life permanently. The same time period is repeated as seen from three characters point of view. What it does is underline is how emotional bonds and empathies are formed depending on whose side of the story is told. I found it fresh and invigorating if not so original in structure.
The closing night film was The Constant Gardener, by Fernando Meirelles (responsible for City of God), from the novel by John Le Carre. This excellent suspense drama starred Rachel Weisz and Ralph Fiennes seeking to expose the exploitation of epidemics in Africa to profit the global medicine trade. At the time of writing it is just being released in the U.K.
