Massive Attack featuring Tracey Thorn – Protection

A small time travel back to the 90s, when Michel Gondry made one of the most incredible music videos ever and one that I cannot even begin to grasp how he pulled off practically and how he imagined and visualised it conceptually. My brain explodes every time I watch this. E-ve-ry-ti-me.

Massive Attack, Ghostpoet – Come Near Me

So simple. So effective. So fun. So sad.

Ed Morris from Rattling Stick directed this wonderful video, so direct all kudos and respect to him, the beautiful Arta Dobroshi, and of course, Massive Attack.

Spike Jonze – Apple, Welcome Home featuring FKA Twigs

I am a fool for practical magic in films and ads. And when Spike Jonze has an Apple level budget and FKA Twigs in front of the lens, I click on play faster than my shadow.

And then comes Danilo Para and brings us this 7 minute look into the work done behind the cameras. And it is incredible.

The following is borrowed from Adweek, mentioning credits and creatives.

we get immersed in the choreography (Jonze, choreographer Ryan Heffington and movement coach Theo Lowe all work with FKA twigs on her irresistible interplay with the apartment, and herself) and the production design (the set expanded on hydraulics to allow Jonze to shoot practically). But we also see how other elements came together, like the lighting, music and VFX (it turns out there was very little CGI).

There are other little gems in here, too, like FKA twigs auditioning for Jonze via FaceTime, and Jonze himself dancing with an office chair. (He never stops moving throughout, and you get a real sense for how physically plugged in he is to the ideas here.) We also catch a glimpse of Dunkirk cinematographer Hoyte van Hoytema working with Jonze on the film—he also shot the “It’s a Tide Ad” spots for the Super Bowl (working with directors Traktor).

“It’s like a magic trick,” Heffington says of the piece in one of his interviews. It’s a delight, in the end, that the magicians decided to reveal their tricks like this—a worthy companion piece to one of the year’s most enchanting productions.


A film with David Beckham and Harvey Keitel? WTF?

Damn good too!

The film features Katherine Waterston, Cathy Moriarty and Harvey Keitel. Shot on location in Mexico, the film is written and directed by Geremy Jasper, produced by Belstaff Films and Legs (a Milk Media Company) and Executive Producer Liv Tyler.

Romaine Gavras – M.I.A. Born Free

Romain Gavras is one of my favourite music video directors. His pieces are so powerful it makes me want to explode.


Director : Romain Gavras
Director of Photography : André Chemetoff
Producer : Mourad Belkeddar
Production company :
Executive Production : Gaetan Rousseau / Paradoxal
Special thanks to Lana & Melissa from The Director’s Bureau

T-Mobile and Drake

I cannot ever imagine something like this happening during an ad shoot. Ever.

Our Heart and Soul – Wren Kitchens

I’m pretty sure the last thing one would expect is to fall in love with a kitchens ad. But that’s how it is.

Kudos to Matt Piedmont and Prettybird-US

Ugly in the 90s – SKODA

As an old mature and experienced guy, this ad hit me hard emotionally. The creative team did a great job of re-creating and remind us old mature and experienced lads how our youth looked. And it wasn’t ugly. It was cool!

IKEA Allen Key

IKEA brings out a yet another great ad, full of wit, humour and class.

There is an updated mini series of ads called The Jewel & The Clock that continue on the same tone, but haven’t found them yet available on YouTube to post them here. Once they come out I will immediately post them.

Agency: McCann Spain/MRM McCann Spain Director: Agustín Alberdi Production Company: Landia Color Grading: Paula M.Ruíz Flame Artists: Dave Burton, Carlos Serrano Country: Spain Released: October 2017

Old Spice – Mask & Marco Love-O

Old Spice is at it again with a couple of hilarious fragrance-style parody ads.

Both spots were made by Wieden + Kennedy Portland.

Here is what Old Spice’s YouTube channel says about the couple.

Who are these lovely strangers? Are they in love? Why are they searching the halls of this immaculate palace for each other and shouting “Old” and “Spice” in a complex game of cat and mouse and deodorant sales? Let me explain… She was too beautiful to be named, we’ll call her Princess Beautiful. He was a handsome rogue, born into wealth and raised in romance, for the sake of this story we will call him Pizza Boy. Why? You’ll find out later. They met under a silver moon on the banks of a French canal, the specifics are unnecessary. The only specific you must know is that love was there to greet them. It was as if Providence or a finely written poem had willed them to meet on the banks of that canal that night. She took his hand in hers. Was love written in their stars? If stars were good at telling matchless love stories for the ages that also served to sell Old Spice products, then yeah, maybe it was written in their stars. Only the stars could tell for sure, and they were beingpeculiarly quiet that night. It was all quiet. The crystal upon the surface of the canal. The nocturnal birds. Even the Natterjack toads indigenous to these European climes and prone to loud bouts of unromantic noises could not be heard. And it was this silence that tipped Pizza Boy off. Were they alone? Was this solitary moment within the arms of his true love truly solitary? Was there a peeping tom peeping into the romantic miracle stretched out before the feet of the cupids that looked down upon peeping in all its many peeping forms? Pizza Boy hesitated. Princess Beautiful was sorrowed. She knew that face. She had seen it before. The face of a handsome man that suspected the quiet of the moment was not romance driven, but the result of a peeper. Many times before it was just a false alarm. Sometimes it turned out to just be a hobo eating some beans. And other times it was a goblin or something, it was hard for her to tell those times because she had just left a bright room and her eyes hadn’t adjusted to the dark yet. But this time was not like those times. This time she too felt a presence. And that presence was maybe sinister possibly; it was her best guess but she couldn’t be sure. “Come out if you are there at all!” Yelled Pizza Boy. It is for this reason that we name him Pizza Boy, because you can’t hear it in written word, and it is kind of hard to explain, but if you heard this man’s you would notice that it sounded incredibly like what a meat lover’s pizza might sound like if it talked. For that reason, we have given him the name of Pizza Boy in this story. Like was said earlier, it was not his real name and it is only being used out of convenience and to describe how his voice sounds. “Come out if you are there at all!” He yelled with his meat lover’s pizza voice. There was no response from the solitary woods that surrounded the painfully romantic scene. The silence filled the couple with confidence, then with skepticism, then with an undying love for each other, then with a clear understanding of their responsibilities as lovers, then with a determination to save every penny so that their child Papakor (boy or girl, they did not know) could attend a fine university without any financial implications. They just wanted the best for little Papakor; Lil’ Pappy for short. “BREAK!” a twig broke in the distant wood and the amorous couple we ripped from their future ponderings. Surely that could not have been a twigging snapping on its own accord. This must have been the work of a foot or a hand or something touching the ground like a walking stick or umbrella being used as a cane. It had to be one of those things and surely not just a twig snapping on its own like was said before. “Who makes the French kisses upon the banks of my canal?” In abject embarrassment, the couple turned to face the voice behind them. There, standing amongst the thorns of a prickly bush stood a goblin. Princess Beautiful rubbed her eyes, surely she had left the party long enough ago to have had he eyes adjusted properly to the shadows of the night. And once her hands were removed sure enough her eyes had been playing tricks on her, it was not a goblin before her after all: it was a she goblin, obviously. Pizza Boy positioned himself between the she goblin and the woman he loved with all his heart even though he had just met her that night. “We do. And we are in love.” The man spoke with a confidence only before observed in nature shows. The she goblin was unfazed. “I hate love. And because you are in love and like it, I feel I must punish you.” With that the she goblin removed a jewel from her marsupial pouch that all she goblins use to store things in and began to wave it in the air. “With this jewel I trap you in your endless love. To search the halls of a mansion palace and only speak the name of the fine deodorant that made you who you are.” Princess Beautiful was startled. “But I didn’t wear deodorant today.” “Not you. Him!” “Oh”.

Bicep – Glue

In Athens it was FΑz and the northern suburbs and forests of Varibombi.

In the UK apparently it was what you see in this brilliant video for a fantastic track by Bicep.

Inspired by the song’s homage to the rave era, the video for Bicep’s GLUE by Joe Wilson is a series of landscapes which revisit the sites once brought alive by now infamous raves. Today they sit desolate and empty, retreating back to their former state, with little to show of their impact they had on UK music culture. The static shots offer space to reflect on the importance and idiosyncrasy of these locations and how an abandoned lido, remote airfield and disused warehouse helped to shape the lives of a generation. Juxtaposed with the images are the hazy, fragmented recollections of those who were there, lifted from Youtube comment sections of the genre’s most defining sounds. Perhaps the most beautiful and poignant pieces of evidence from the period, they eulogise over a time of unity and euphoria, and are a longing to be returned for just one more night. Film by Joe Wilson ( Executive Producers: Saskia Whinney & Freddie Fraser-Forsyth Producer: Carla Steinberg Production Company: TOPSAFE ( Camera Assistants: Corey Bartle-Sanderson, Lottie Bea Spencer, Holly Lucas Colourist: Myles Bevan at Time Based Arts Typography: Studio Terrasse

Where the city can’t see

Directed by speculative architect Liam Young and written by fiction author Tim Maughan and designed ‘Where the City Can’t See’ is the world’s first narrative fiction film shot entirely with laser scanners. The computer vision systems of driverless cars goggle maps, urban management systems and CCTV surveillance are now fundamentally reshaping urban experience and the cultures of our city. Set in the Chinese owned and controlled Detroit Economic Zone (DEZ) and shot using the same scanning technologies used in autonomous vehicles, we see this near future city through the eyes of the robots that manage it.

NY Time Lapse

Probably the best timelapse I’ve seen since the ancient times of Koyanisqatsi.

Orkestra Obsolete play Blue Monday using 1930s instruments – BBC Arts

More information: New Order’s Blue Monday was released on 7 March 1983, and its cutting-edge electronic groove changed pop music forever. But what would it have sounded like if it had been made 50 years earlier? In a special film, using only instruments available in the 1930s – from the theremin and musical saw to the harmonium and prepared piano – the mysterious Orkestra Obsolete present this classic track as you’ve never heard it before.

Triadisches Ballett

Triadisches Ballett (Triadic Ballet) is a ballet developed by Oskar Schlemmer. The ballet became the most widely performed avant-garde artistic dance and while Schlemmer was at the Bauhaus from 1921 to 1929, the ballet toured, helping to spread the ethos of the Bauhaus.

Remembering 9/11 of 1940

Joseph Goebbels:

The Europe of the future

September 11, 1940

In a speech to Czech intellectual workers and journalists’ the Reich Propaganda Minister outlined his vision of ‘the Europe of the future’.

(…) At the moment when British power is collapsing we have the opportunity to reorganize Europe on principles corresponding to the social, economic and technical possibilities of the twentieth century.

About a hundred years ago our German Reich went trough a similar process. At that time it was fragmented into just as many larger and smaller parts as Europe is today. This medley of small states was endurable so long as technical facilities, especially those of communications, were not yet so developed that is took too short a time to travel from one small country to another. But the invention of steam power made the old conditions intolerable (…)

In those days too there were elements in the Reich which sought to remedy this state of affairs by negotiation. Those elements were refuted by historical developments, in a way that is not uncommon. History generally operates with harsher laws than those that prevail around the conference table. You may remember the words Bismarck used at that time that German unity would not be brought about by speeches and resolutions but that it must be forged by blood and iron. This statement was much contested then, but history justified it in due course: the unity of the Reich was in fact forged on the battlefield. In the process a whole lot of peculiarities of individual states, prejudices, limitations and parochial ideas were done away with. They had to be overcome, for otherwise the Reich would not have been in a position to achieve unity and enter into the great conflict of European powers. We were only able to achieve political unity because at that time we broke down the barriers that were constricting us (…)

Today the railway is no longer the most modern means of communication: it has been superseded by the aeroplane. A distance that it once took twelve hours to cover by rail can be traversed by a modern aircraft in one or one and a half hours. Technology has brought not only tribes but whole peoples closer together than was once imaginable. Whereas formerly it tool 24 hours to talk from Berlin to Prague indirectly via the press, today it does not take me an extra second. When I speak at this microphone I can be heard at the same moment in Prague, Slovakia, Warsaw, Brussels and The Hague. Whereas it once took twelve hours to travel to Prague by rail, today I can fly there in an hour. In other words, in the course of a century technology has brought peoples closer still to one another. It is certainly no accident that these technical aids have come into being at this particular moment. For there are more people in Europe than there used to be, and their numbers have created quite new problems for European society – problems of food supplies and economic policy as well as those of finance and defense. As these technical achievements are put to use, so the continents are inevitably brought closer together. Meanwhile European peoples are realizing more and more clearly that many of the issues between us are mere family quarrels compared to the great problems that today require to be solved as between continents.

I am firmly convinced that just as today we smile when we look back at the parochial quarrels that divided the German peoples in the 40s and 50s of the last century, so in fifty years’ time future generations will be no less amused at the political disputes that are now going now on in Europe. The ‘dramatic national conflicts’ of many small European states will seem to them no more than family quarrels. I am convinced that in fifty years people will no longer think in terms of countries – may of today’s problems will have faded into obscurity, and there will be little left of them. In those days people will think in terms of continents, and European minds will be filled and swayed by quite different, perhaps much greater problems.

You must on no account think that when we Germans bring about a certain order in Europe we do so for the purpose of stifling individual peoples. In my view a nation’s conception of its own freedom must be harmonized with present-day facts and simple questions of efficiency and purpose. Just as no member of a family has the right to disturb its peace for selfish purposes, in the same way no single European nation can in the long run be allowed to stand in the way of the general process of organization.

It has never been our intention that this new order or reorganization of Europe should be brought about by force. If we with our Greater German outlook have no interest in infringing the economic, cultural or social peculiarities of, say the Bavarians or the Saxons, so it is equally not in out interest to infringe the economic, social or cultural individuality of, say the Czech people. But a clear basis of mutual understanding must be created between the two nations. We must approach each other either as friends or as enemies. And I think you know ell enough from the past experience that the Germans can be terrible enemies, but also very good friends. We reach out our hand to a friend and cooperate with him in a truly loyal spirit, but we can also fight an enemy until he is destroyed.

The people who have adapted or will adapt to this reorganization must ask themselves whether they are doing so with genuine good will and sincerity or whether they are inwardly resisting it. Whichever they do will make no difference to the facts. They may take it as certain that once England is overthrown the Axis powers will not permit any change in the power-political situation of a Europe reorganized in accordance with great political, economic and social ideas. If Britain can do nothing to prevent this, certainly the Czech people cannot. If you have learnt anything from recent history you will know that nothing can or will be changed in the power-political situation as it exists today.

And so, gentlemen – and I am speaking now quite realistically, without any appeal to sentiment – it makes no difference at all whether you approve this state of things or not. Whether or not you welcome it from your hearts, you cannot do anything to alter the facts. Now it is my opinion that when you can do nothing to alter a state of affairs and have to put up with the disadvantages it may no doubt present, it would be foolish not to profit by its advantages as well. Since you have become part of the Reich anyway, I do not see why the Czech people should adopt an attitude of inward opposition to the Reich instead of claiming the advantages it offers (…)

You gentlemen have now seen something of the Reich, and I made a point of allowing you to make this journey before I addressed you. You have seen the Reich in Wartime, and you will have formed some idea of what it can be in peace. Out great nation with its large population, together with Italy, will in practice take over the leadership of Europe. There are no two  ways about that. What it means for you is that you are already members of a great Reich which is preparing to reorganize Europe, tearing down the barriers that still separate the European peoples and making it easier for them to come together. Germany intends to put an end to a situation which quite clearly cannot satisfy mankind for long. We are performing here a work of reform which I am convinced will one day be recorded in large letters in the book of European history. Can you imagine what the Reich will actually be like after the war? (…)

See the original document (in German)


A Slamdance story

Πέμπτη 22 Ιανουαρίου 5:30 το πρωί. Σε ένα λεωφορείο με τη μεγάλη επιγραφή Solaris, ξεκινά το ταξίδι μου προς την Άγρια Δύση.

#Slamdance #Coverage On the bus to the airport. Good morning Andrei! #goodsign

A photo posted by Stathis Athanasiou (@stathisath) on Jan 21, 2015 at 9:01pm PST

Εκεί στην Άγρια Δύση, στη γη των Anasazi και των Navajo, 21 χρόνια πριν, o Dan Mirvich, o Peter Baxter και ο Paul Rachman δημιουργούν το Slamdance Film Festival με μότο ‘By Filmmakers, For Filmmakers’, τυπώνουν την πρώτη τους αφίσα: “Anarchy in Utah” και στήνουν το φεστιβάλ τους επιδεικτικά δίπλα σε εκείνο το άλλο φεστιβάλ της πόλης στο οποίο, καθώς πιστεύουν, το πνεύμα του ανεξάρτητου σινεμά το έχει πάρει ο αέρας του business as usual.

With the first Slamdance Film Festival poster from 1995. Onward to our 21st year! With @danmirvish @slamogram #slamdance2015 #sundance #parkcity #indiefilm

A photo posted by Paul Rachman (@prachman) on Jan 16, 2015 at 4:52pm PST

Ταξιδεύοντας εικοσιτέσσερις ή και περισσότερες ώρες αλλάζοντας τρεις πτήσεις, τέσσερα αεροδρόμια και δυο λεωφορεία, έφτασα στο Park City την ίδια ημερολογιακή ημέρα, όπου το πρώτο πράγμα που καλωσόρισε το jet lag μου ήταν το χιόνι. Πολύ χιόνι.

Good morning #Slamdance ! Great being here!!! #danmirvishtributephotography

A photo posted by Stathis Athanasiou (@stathisath) on Jan 23, 2015 at 10:14am PST

Το Park City εκτός από τη Μέκκα του Αμερικανικού ανεξάρτητου σινεμά, είναι και η Μέκκα των χειμερινών σπορ με αμέτρητους σκιέρ και snowboarders να κατακλύζουν τις πίστες και τα λιφτ στην κορύφωση της χιονοδρομικής σεζόν. Περίεργη νότα να βρίσκεσαι στην Αράχωβα της άλλης πλευράς του πλανήτη για το σημαντικότερο κινηματογραφικό γεγονός της πλευράς αυτής.

Fun video waiting for the bus to Main Street! #Slamdance #Slamdance2015 #Sundance #sundance2015

A video posted by Stathis Athanasiou (@stathisath) on Jan 24, 2015 at 2:30pm PST

Το Park City είναι η Daisy Town του Λούκυ Λουκ. Ένας κεντρικός δρόμος, η Main Street, είναι ο νωτιαίος μυελός της, ο οποίος κάποτε είχε το Σαλούν, το Σερίφη, το γραφείο του Nεκροθάφτη και τη Φυλακή και σήμερα εν έτει 2015 έχει Eστιατόρια, Kινηματογράφους, Ξενοδοχεία και Καταστήματα.

#Slamdance #textures by #Sundance #Slamdance2015 #sundance2015 #slamdance motel

A photo posted by Stathis Athanasiou (@stathisath) on Jan 27, 2015 at 2:01pm PST

Η υφή του μέρους βρίσκεται κάπου μεταξύ του Uderzo και του Goscinny και φτάνει μέχρι την αρχιτεκτονική των Playmobil της παιδικής μου (μας) ηλικίας. Γνώριμο μέρος δηλαδή.

#Slamdance #textures by #Sundance #Slamdance2015 #sundance2015 #slamdance motel

A photo posted by Stathis Athanasiou (@stathisath) on Jan 27, 2015 at 1:55pm PST

#Slamdance #textures by #Sundance #Slamdance2015 #sundance2015 #slamdance motel

A photo posted by Stathis Athanasiou (@stathisath) on Jan 27, 2015 at 1:59pm PST

Και σε αυτόν τον ένα και μοναδικό δρόμο της Daisy Town του Park City, βρίσκονται δίπλα δίπλα το Slamdance και το Sundance σε απόσταση αναπνοής. Αλλά καλύτερα ας μας μιλήσει γι αυτό ένας εκ των αρχικών υπεύθυνων, ο Dan Mirvish, co-founder at-large.

Slamdance 2015 with Co-Founder Dan Mirvish from Slamdance on Vimeo.

Και ξαφνικά είμαι εκεί. Actors, directors, producers, agents, publicists, journalists, CEO’s, business strategy managers, distributors, innovators, festival directors και άλλοι αμέτρητοι τίτλοι εμφανίζονται από όλες τις πλευρές και ξεκινά μια εβδομάδα τόσο συμπυκνωμένων επαγγελματικών επαφών εν μέσω αλλεπάλληλων πάρτυ και happy hours, που γεμίζουν κάθε τσέπη και τσεπάκι μου με κάρτες όλων των ειδών και μεγεθών.

Directors Guild of America Happy Hour. #Slamdance #Slamdance2015 #Room21

A video posted by Stathis Athanasiou (@stathisath) on Jan 23, 2015 at 5:09pm PST

Και όλοι αφισοκολλούν σαν τρελοί! Αν καθόσουν σε ένα παγκάκι απέναντι από οποιοδήποτε σημείο αφισοκόλλησης, θα έβλεπες ολόκληρη την επιφάνεια να αλλάζει ολοκληρωτικά κάθε μια ώρα, αφού συνέχεια περνά κόσμος που βάζει αφίσες της ταινίας του. Καθότι εμείς οι Woofs που κάναμε την Α είμαστε ύπουλοι και πονηροί, πήγαμε με στρατηγική αυτοκόλλητου αντί αφίσας και μπορώ να πω ότι δούλεψε αρκετά καλά!

Alpha in the house. #Slamdance Invasion has commenced! #Sundance #Slamdance2015

A photo posted by Stathis Athanasiou (@stathisath) on Jan 23, 2015 at 11:53am PST

Από το Park City πέρασε και η αυτού εξοχότης ο Banksy, όπου χτύπησε στον τοίχο του μοναδικού καφέ της πόλης (σημ: δεν υπάρχει καφές εκεί, μόνο κάτι που λέγεται καφές), ένα σχετικά αδιάφορο stencil, το οποίο όμως ο ιδιοκτήτης του μαγαζιού αμέσως έβαλε πίσω από μια γυάλινη προστατευτική βιτρίνα ώστε να δώσει στο μαγαζί του την αλήτικη avant garde αίγλη που ο Banksy εμμέσως του χάρισε. Σημειωτέον ότι στο Park City όχι μόνο δεν υπάρχει graffiti ή tag στους τοίχους, δεν υπάρχει τί-πο-τα. Απαγορεύεται δια ροπάλου να κολλήσεις αφίσα, αυτοκόλλητο, να αφήσεις κάρτα, flyer ή οτιδήποτε οπουδήποτε, παρά μόνο στα 3-4 σημεία που έχει ορίσει ο δήμος και όπου γίνεται, όπως καταλαβαίνεις, χαμός. Με άλλα λόγια, μην τολμήσει να κάνει κανείς καμιά χαζομάρα και μας γράψει ή λερώσει τους τοίχους, εκτός κι αν είναι ο Banksy, οπότε εκεί το συζητάμε. Καθότι μεγάλος θαυμαστής του Banksy, ένιωσα την ανάγκη να βεβηλώσω το κορνιζαρισμένο έκθεμά του.

We cannot confirm nor deny that #Banksy will attend tonight’s Int’l Premiere. #Slamdamce #Sundance #danmirvishstyle

— Alpha (@Alpha_Movie)

January 25, 2015

Κι ενώ συμβαίνουν όλα αυτά και η πρεμιέρα της Α είναι μερικές ώρες μακρυά, η Ελλάδα ανοίγει τις κάλπες για να δει αν μπορεί να διαχειριστεί τα προβλήματά της σαν ενήλικας ή σαν φοβισμένη γριά. Πριν την πρεμιέρα μας και ενώ οι κάλπες είναι ανοιχτές, ο κόσμος στην Daisy Town διαδηλώνει.

Daisy Town on Main Street voting for … Alpha? … Syriza? … Lucky Luke?

A photo posted by Stathis Athanasiou (@stathisath) on Feb 8, 2015 at 2:00am PST

Την ώρα της προβολής της «Α», η Ελλάδα έχει αποφασίσει ότι ζει στον 21ο αιώνα, ο πρωθυπουργός της είναι ένας ανύπαντρος άθεος χωρίς γραβάτα που παίζει The Clash μετά την απεύθυνσή του στο λαό (sic), ενώ ο ΥπΟΙΚ της είναι ο πρώην οικονομολόγος της μεγαλύτερης εταιρείας-πλατφόρμας gaming των ΗΠΑ (και άρα του κόσμου), η οποία παραδόξως είναι δομημένη σε ένα οριζόντιο αναρχικό μοντέλο λειτουργίας και η οποία έχει κατατροπώσει όλες τις παραδοσιακά καπιταλιστικές ή φιλελεύθερα δομημένες ανταγωνίστριες της, μέσα στο γήπεδό τους, το ίδιο τον (νεο-) φιλελεύθερο καπιταλισμό.

#slamdance #awards #live #room21 #Slamdance2015 #slamdancemotel #Sundance #sundance2015

A video posted by Stathis Athanasiou (@stathisath) on Jan 29, 2015 at 8:05pm PST

Κατά τη διάρκεια της πρώτης προβολής νόμισα ότι θα πεθάνω από την αγωνία, γιατί να ‘μαι ξαφνικά να δείχνω σε μια κατάμεστη αίθουσα κάτι τόσο σκληρό όσο η «Α» και τόσο εκτός της πραγματικότητας όλων αυτών των ανθρώπων, μη μπορώντας καθόλου να καταλάβω αν τους αρέσει, αν το μισούν, αν το βαριούνται, αν θα με στείλουν εκτός πόλης με πίσσα και πούπουλα. Σίγουρα τίποτα καλό δε θα μπορούσε να βγει από αυτή την προβολή. Άρχισα να ψάχνω την έξοδο. Κι όμως… τελειώνει η προβολή, δεν κουνιέται κανένας για 1 ολόκληρο λεπτό με κολλημένο το βλέμμα στην οθόνη και οι δυο εκ των τριών συνωμοτών της αναρχοκινηματογραφικής αυτής κίνησης με σπρώχνουν δεμένο μπροστά σε όλους, ανάβουν τα φώτα, μου λύνουν το ένα χέρι (όχι όμως τα πόδια), μου δίνουν ένα μικρόφωνο και με αναγκάζουν να συζητήσω με το κοινό.

@DanMirvish: Amazing sold out show of @Alpha_Movie#InternationalPremiere #brilliant @Slamdance“ Congrats!

— AZ Intl Film Fest (@AZFilmFest)

January 26, 2015

.@Alpha_Movie #qanda w/ #director at #slamdance cc @paulrachman@DanMirvish

— Josh Leake (@JoshLeake)

January 29, 2015

Πέρα από την πλάκα, αυτή ήταν μια πολύ συγκινητική και πολύ συναισθηματικά φορτισμένη στιγμή, γιατί από τη μια ένα ακροδεξιό βάρος που ένιωθα τόσα χρόνια στην πλάτη μου άρχισε να υποχωρεί, και από την άλλη όλοι αυτοί οι άνθρωποι από αυτόν τον γνώριμο αλλά τόσο διαφορετικό κόσμο από το δικό μας, συζητούν μαζί μου αλλά και μεταξύ τους για την ουσία αυτού που είδανε. Συζητούν για τη βία, για την εξουσία, για την Αντιγόνη, για τη θέση τους (μας) στον κόσμο, και για το πως μπορούμε σήμερα να σπάζουμε τα όρια και τα καλούπια στα οποία κάποιοι κάποτε μας είπαν ότι θα πρέπει να στριμωχνόμαστε.

Amazing screening of @Alpha_Movie @slamdance Q&A w/ @paulRachman& dir. @stathisath Greek #transmedia #cool

— Dan Mirvish (@DanMirvish)

January 29, 2015

Greek director @stathisath q&A for @Alpha_Movie @slamdance – groundbreaking! @FilmmakerMag @indiewire

— Dan Mirvish (@DanMirvish)

January 29, 2015

Το πιο ενδιαφέρον που συμβαίνει στο Slamdance και το Sundance είναι ότι μέσα σε μια εβδομάδα, σε ένα και μοναδικό δρόμο, επαγγελματίες του κινηματογράφου (και όχι μόνο) έρχονται με τη διάθεση να μάθει ο ένας για τη δουλειά του άλλου. Το λιγότερο που μπορώ να κάνω για να κλείσω αυτό το μικρό φωτογραφικό οδοιπορικό στην Daisy Town στο Park City, είναι να μοιραστώ τα ονόματα και τη δουλειά των νέων μου φίλων. Αξίζει τον κόπο να τους έχετε υπόψη σας.


Ale Paschoalini – Brazil

ASCO TRAILER from ale paschoalini on Vimeo.


Aslak Danbolt & Kenneth Åkerland Berg – Norway

Last Base teaser from Aslak Danbolt on Vimeo.


Evan Mann – U.S.A.

Lauren Morisson – U.S.A.

Sam & Ben Callis – U.K.

John Mattiuzzi & Josh Planz – U.S.A.

Jerry White Jr. – U.S.A.


Una mirada del cine griego en el contexto social de los últimos años.

Me llamo Stathis y nací en Atenas el año 1975, justo con la caída de la dictadura de los coroneles. No he vivido en dictaduras militares, ni guerras mundiales, ni guerras civiles, como mis padres y mis abuelos, pero me ha tocado vivir en una etapa de cambio radical que está transformando mi vida  y la vida de todos los de mi alrededor de una manera impresionante. El año que nací se estrenó en las salas de cine de Atenas, la nueva película de un tipo casi extraterrestre para el cine griego de aquella época, Theo Angelopoulos. La película está inspirada en la Orestíada de Esquilo y recorre la historia de Grecia desde los años treinta hasta… no puedo decir hasta cuándo porque sus imágenes están tan grabadas en mi corazón que pierdo el hilo del tiempo. Propongo que perdamos el hilo un poco para oler el pasado de donde venimos nosotros los griegos.

[Artículo que sale en El Rapto de Europa nº 28]

[Crítica El Diario]

[Voy a subir el artículo entero (8.000 palabras) cuando salga la próxima edición de la revista]

This is how it started