The winner of the Golden Jubilee Award for Best Film at the 2014 Shanghai International Film Festival may have something to do with Victory, which won only the Grand Jury Prize, while Greek cinema technically knocked down its rivals, winning three awards for Best Film, Best Director and Best Actress, which is almost unheard of at international A-level film festivals (perhaps I have seen less). Before the 2015 Beijing International Film Festival Temple of Heaven Awards were about to be announced, Wen knew the new.
A greek director who is too old to tell the love story of the 1930s and 1940s, which indeed belonged to the era of "Great Britain" retreating into "Little England". Economic crises, world wars, political upheavals, and livelihoods, but none of this seems to have much to do with the small islands of the Mediterranean, nor does it seem to have much to do with director Pandori Fogari. This year's Shanghai International Film Festival "Golden Jubilee Award" competition unit shortlisted film "Little England", about a pair of sisters and a man in the background of a war crisis love-hate entanglement, misplaced, missed love, so that the people in the bureau are more confused in the paradox of human morality.
Little England is based on the novel of the same name by the director's wife, the famous Greek writer and screenwriter Iona Carriteni. Director Pandori Fogari was born in Athens in 1940 and studied at the Stavlak Film School. Initially an assistant director, he completed his first short film in 1965, and since then his films have won international acclaim and multiple awards, and he was a master figure in the "New Greek Cinema" movement in the 1960s and 1970s. The novel was published in 2013 and won the Greek National Literary Prize that year. Fockari in turn put this Greek "tragedy of fate" love triangle story on the screen, and the elegant and beautiful art set off the epic atmosphere of the film. It was released in Greece on December 5, 2013, and was a huge social influence, box office success, and the newly rated Greek Academy Awards, known as the "Greek Oscar", received thirteen nominations and finally won six awards including Best Picture, making it the best Greek film of the year.
director
The Greek film "Little England" unexpectedly won the Best Film, Best Director and Three Awards for Film Queen, and Pandoli Vergary adapted the novel "Jasmine Island" written by his wife, which is obviously such a story that expresses the ups and downs of the air, dark fragrance and trend on the island of Hot Island, and also allows Iona Carriteni, the wife of the director who is also the screenwriter of this film, and the heroine Penelope Thesecelica both won the honor, and the director Pandori Fogari used exquisite audiovisual language. The novel is interpreted with great charm.
"Little England" has a "World War II" background, but depicts individual love and hate, which is the posture of the choreographer husband and wife file. Of course, it is politically incorrect for this film to gaze at the female watch with a male gaze, the sister flower falls in love with the same man, but also under one roof, those dark night voices and stirring spirits, seemingly not so modern, and it is precisely because of this that "Little England" is a characteristic Greek epic about hidden humanity. As the standard-bearer and director of the "New Greek Film Movement" in the 1970s, Pandoli Fogari once again focused on the modern fate and mysterious tragedy of the ancient civilization of Greece in the 21st century. Complex hopes in modern warfare, like the ship with an indefinite voyage of no return, is "Little England", not "Great Britain". Weddings and funerals, partings and reunions, jealousy and hatred, despair and struggle, in this dark and turbulent family tragedy, every character is looking for an exit in the predicament, and every reversal of fate touches people's hearts.
The sisters HuaOsa and Mosca fall in love with Spyros, but they have a snobbish mother. The plot does not become bizarre and mysterious because of the pure romance of the Mediterranean, and similar to most melodramas, Osa and Spyros are secretly destined for life, but Spyros wants to sail far, so he is forced to "marry someone else's wife". When Spyros returned from the counterattack and became the captain of the "Little England", the mother's eyes were red, so she made the decision to marry her youngest daughter Mosca to the captain. This is different from the sisters of Jane Austen's "Sense and Sensibility", but rather a bit like the coincidence in Qiong Yao's "Love is Deep and Rainy", unlike other similar melodramas, Fockari does not show "character", but "fate", although we often say that "character determines destiny".
Most of the women on the island have to endure the loneliness of waiting for their husbands to return, and the mother can't bear the loneliness she has been waiting for for decades for her daughter to bear, so she makes the decision that seems to be ruthless and black-hearted. However, although Osa can keep her husband and raise her children, she still loves her "brother-in-law" in her heart, and listens to her sister and her former lover with a big belly, and this "loneliness" is more violent than staying alone in an empty house. The Greek philosopher Aristotle devoted himself to the meaning of tragedy in Poetics. He believes that the purpose of tragedy is to arouse the audience's pity for the characters in the play and fear of the fickle fate, thereby purifying the feelings. The conflicts depicted in tragedies are often irreconcilable and fatalistic. The protagonists in tragedies often have a strong and indomitable character and heroism, but they always encounter failures in the process of fighting against fate. Literary and artistic films about the Mediterranean are often always blue and blue, deep and slow-paced, and the deep feelings of the characters rise and fall in the ebb and flow, rather than the surging one, that is, forming an involution isomorphism with fate.
The tragedy of fate is irrefutable. When the news of Spyros' death in World War II arrives, Ossa mourns, his voice screams to expose himself to everyone, and sobs and large close-ups push the mood of the film to a climax. This kind of tragedy may make feminists unhappy, because two women fighting for a man to die and live is an insulting, old, backward concept, but the director does the opposite, what is the intention? This film has aroused certain criticism in Europe, and critics have started from this point of view, believing that the director and his wife's three views are somewhat wrong, and Ruan Lingyu and Jin Yan's "Love and Obligation" starring and directed by Bu Wancang has been re-screened after a gap of eighty-three years, and some contemporary audiences believe that the three views are very problematic. Perhaps the tragic fate of the film does not refer specifically to women, even if the wife has paid more and more attention to women ("The Bride") since she became a royal screenwriter. Pandoli Fogari's dedication to the archetypal love story of ancient Greek tragedy, the sea, the island, and the affectionate self-exposition have their own posture, and he is like the French director Ha Nek, the older he is, the older he is, the younger he is.