I recall my schooldays in Croydon as a lean thirteen year old watching grainy 1950’s documentary footage of Stetson wearing Australians on horseback 'Abbo hunting’ in the outback. While out on expedition, these dusty, leather-skinned men would routinely poison the drinking water of rural Aboriginals.

Με το kitsch του νεοπλουτισμού να τρυπάει την οθόνη για να «ενοχλήσει» αποτελεσματικά κάθε θεατή, και ζωηρή κινηματογράφηση που παραπέμπει μια σε ντοκιμαντέρ μια σε home video κορυφώνοντας το δράμα, η ταινία κέρδισε άξια την Χρυσή Άρκτο στη φετινή Berlinale αλλά και τον τίτλο του πιο εύστοχα συμπυκνωμένου post ‘80s βαλκανικού μορφώματος.

If his nails had been perfectly polished, Jody Taylor would have been a proper rock star. If he had been a proper rock star, he would have performed the song “In the Still of the Night” live on stage, and not fake it in some bar in some small city in the mainland of USA. If he had been on a proper stage, he might have met his daughter earlier.

Did you study Medicine or something like that? Why did you decide to depict real time surgery?

No, absolutely not! My first encounter with the surgery room was traumatic! Gradually I got used to it, as I spent much time with the doctors in that surgery room. What appealed to me the most was the fact that inside a human body it is possible for a machine, a robot, to work.

Interview with Claire Hooper director of the film ERIS.

Nikos Koundouros is one of the most important auteurs coming from Greece and one of the most significant international filmmakers.  He has won the Silver Bear and FIPRESCI Award in 1963 Berlin International Film Festival, for his film “Young Aphrodites” (Mikres Aphrodites).

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