THESSALONIKI INTERNATIONAL FILM FESTIVAL
 

Stephen Ashton
THESSALONIKI, GREECE

The truly revelatory thing about international cinema is the way that it can give artists the opportunity to mine the depths of their cultural roots, many of which grow deeply into the ancient soils of their homelands.

Unearthing the treasures of a national cinema is a bit like wine tasting… it is best done on its home turf so that you can immerse yourself in the “terroir” – the tastes and smells of the place. Taking in the atmosphere - in a literal sense – the very air itself, and the sounds of the language, even if foreign to the ear, unquestionably enriches the experience.

I have just come from my first taste of Greece where I expected to harvest a recent crop of European films at the Thessaloniki International Film Festival. The pinnacle of “international” festivals, Cannes, is well-known for its showcase of breakthrough cinematic aesthetics (when its at its best), catching up on the latest work of recognized masters or providing the opportunity to discover a shining new talent. It is a Festival about the ART of the Art film, with heavy doses of celebrity idolatry stirred in.

But in countries where there is but one major film festival, as in Greece, the mission of the event may be more of an exposition of National Cinema, in addition to bringing to their audiences the latest cinematic sensations.

In Thessaloniki we got a real taste of Greek life in film with the biggest box office draw of the year, the charming A TOUCH OF SPICE by Tassos Boulmetis. Currently the Greek entry for the Oscars™, the film tells a story that draws heavily on the tumultuous cultural history of the Greek people, particularly those have intermingled with the Turkish.  The film, set in a Greek community in Istanbul, focuses on young Fanis and his grandfather, a philosopher of life and cuisine. The young boy learns that both food and life require a little salt to give flavor… and more than a little spice is required for “the good life.” A definite crowd pleaser, A TOUCH OF SPICE won the Audience Award for Best Greek Film at the 44th Festival and swept the Greek National Film Prizes with 7 awards on the Closing Night of the Festival.

The indigenous emphasis of Film Festivals like Thessaloniki opens our eyes to the innermost thoughts and concerns of a people. Cinema, perhaps more so than other art forms, is the carrier of cultural identity…. Well, perhaps it is second to Cuisine in this – Chinese cuisine is as clearly distinguished from Cuban as is Italian from Indonesian. But just as national Cuisine is being ameliorated by globalizing trends, national Cinemas are bending under the weight of commercial pressures led by the ever increasing permeation of American films in theatres the world over.

So when Thessaloniki has a major section of New Greek Cinema what one gets is a
cultural “tasting”– hinting at the distinction of Greek national character, passions, concerns and cultural history. In this place – on the edge of the East and the birthplace of Western civilization, one can’t help but seek meaning in all that one sees, hears and tastes. We are in Europe, but the written word is in Greek, an alphabet unshared with any other nation, that dates back to earlier than 800 BC when the earliest surviving Greek writing is said to have been found on the side of a wine jug.

Indeed, the quest for meaning is a long tradition in Greece, since before Plato’s time. He and his mentor Socrates encouraged the questioning of everything, including, of course, the nature of reality, a familiar theme in the art of film.

The striking first-feature film,recipient of the Best Debut Director Prize at last year’s National Film Awards is the philosophical TO THE INN, by Yorgos Bakolas. It is the story of two friends in rural Greece who become tempted and corrupted by wealth and greed; a familiar theme, but the way Bakolas weaves dream and the imagination into the tale poses questions of multiple “realities,” bringing to mind Plato and his allegory of the Cave.

This is but one example of the Greek cinema that has its own character, style and emotional qualities which are sometimes hard to transpose to international audiences, but play exceptionally well at home.

One of my favorite films is another film that plays with reality from Cyprus. The island of Cyprus is the setting for MUD, by Cypriot director Dervis Zaim. MUD brilliantly portrays the struggle for cultural identity and the need for cultural understanding with its contemporary story of a group of Greek and Turkish Cypriot friends whose personal lives are impacted by the social strife that has so tragically burdened this island.

Thessaloniki is a sizeable city at the top of the Aegean Sea on the southern part of the Balkan Peninsula. The original city was built by Macedonian King Cassander, in 315 B.C. on top of pre-historic settlements dating back to 2300 B.C. The city, named for Cassander’s wife (Alexander The Great’s sister) is one of the oldest in all of Europe. It is no wonder that the Festival’s top Awards are known as “The Alexanders.”

The Film Festival takes place in the seaport area of the city, near ancient ruins. Most of the activities are centered in the Old Port buildings that, under the leadership of Festival Director Michel Demopoulos, were converted to a Cinema Center with 4 theatres, a Cinema Museum, restaurant and several other cultural offices.

FESTIVALS
Through the Thessaloniki FF we see a direct carrying forward of one of many Ancient Greek innovations: The Organized Festival. Giving us The Olympic Games and Festivals is one of the legacies of Greek culture that include self-government, art, literature and philosophy, and in this sense all film festivals owe a debt of gratitude to Greek customs.

As all forms of art are globalizing and becoming homogenized, the quest for Cultural identity is becoming more and more relevant. The recent history of the Balkans (most notably in the former Yugoslavia) is a testament to how easily cultural identity and pride can lead to “cultural chauvinism,” war between family and former friends, and at its worst, “ethnic cleansing” or genocide.

A BALKAN SURVEY
Motivated to reveal new talents and to address the problems of making films in the changing Balkan countries (Greece, Turkey, Bulgaria, Albania, Bosnia & Herzegovina, Croatia, Macedonia, Romania and Yugoslavia (Serbia and Montenegro), in 1994 Festival Director Demopoulos founded a new section to the Festival known as the “Balkan Survey.” At that time the region was reeling from the fall of the Socialist states and from tragic nationalistic movements and wars, but somehow miraculously cinema managed to provide an outlet for expression and entertainment and it found a common forum in Thessaloniki. To this day the “Balkan Survey” section makes a vital contribution to the health of national cinemas not only by showcasing their films to an international audience, but with a series of
Roundtable Meetings.

MASTER CLASSES AND MEETINGA
The Festival is noted for its intimacy and serious approach to the esthetics of cinema with a series of “Master Classes” by the likes of the remarkable cinematographer Christopher Doyle whose Asian films have inspired a generation of new filmmakers, iconoclastic filmmaker Peter Greenaway, the Iranian legend Abbas Kiarostami, and the Spanish filmmaker Victor Erice.

Alexander Payne, whose roots are Greek (family name Papadopoulos,) was on the Jury of the recent Festival and participated in a Panel on American Independent Cinema along with fellow Juror critic Kent Jones and filmmaker Todd Verow. Mr. Payne first explained that his four features were financed by studios and therefore didn’t consider himself to be an “independent.”

But then he went on to say, “Cinema is a mercenary, it’ll take money from anywhere. The important thing is to promote the director’s voice, regardless of the financial support.”
 

ON FESTIVALS
“The importance of festivals is spiritual.” Mr. Payne added. “It’s extremely difficult to make a film. However, when you communicate with moviegoers and festival people your morale is boosted. The audience cheers you on. I’m very faithful to the festivals that supported me when I first started; I particularly love the festivals of Turin and Thessaloniki.

These sentiments are reflected by all who have found their way to this festival, especially the winners who walk away with cash prizes.
 

THE 2004 WINNERS

INTERNATIONAL COMPETITION SECTION of First or Second Features

Golden Alexander (37.000 euros – about $50,000.)
Best Feature in Competition

BITTER DREAM / Khab e talkh
Iran 2004
By Mohsen Amiryoussefi

A gentle tale of Abbas Esfandiar, who, for the past forty years, has been washing and preparing corpses before accompanying them to their last resting place. Esfandiar, like many of his past customers, one day begins to feel the presence of Ezrael, the Angel of Death. Might Esfandiar too be mortal?
….

Special Jury Award - Silver Alexander (22.000 euros – about $30,000.)

HARVEST TIME / Vremia Zhatvy
by Marina Razbezhkina
Russia 2004

In a small Russian village in 1950, Antonina must work long hours driving a combine harvester at the collective farm to support her young sons and her husband Gennady, who came home from World War II `with no legs. In honour of Antonia’s hard work, the State rewards her with the Red Flag. At first, the velvet banner is the most important thing in the home, but when it is endangered by a mouse infestation, the flag becomes a curse as the family tries to keep the precious prize intact. Fearful of the reprisals for damaging such a tribute, Antonia is determined to continue winning the flag every year.

UNA DE DOS (One or the Other)
by Alejo Taube
Argentina 2004

Set in December, 2002. Argentina is in a turmoil over the economic crisis and street demonstrations. The story unfolds in a rural town, seemingly not much affected by the events in the capital which are presented only in the form of actual TV news reports. Instead, the filmmaker concentrates on people living on the fringes of society who fall in love while they struggle to get by. Martin has made a lot of money passing on counterfeit coins. Pilar is from a good family which is rapidly slipping into poverty. A powerful erotic undercurrent draws them together.
 

Best Director Award:
Fernando Eibcke for, DUCK SEASON (Temporada de Patos), Mexico.

Best Screenplay Award:
GONZALO DELGADO GALIANA, JUAN PABLO REBELLA and PABLO STOLL for, WHISKEY, Uruguay.

Best Actress Award:
MIRELLA PASCUAL in, WHISKEY by Juan Pablo Rebella and Pablo Stoll, Uruguay

Best Actor Award :
SIMON ABKARIAN in, TO TAKE A WIFE (Ve Lakachta Lecha Isha) by Ronit & Shlomi Elkabetz, Israel/France.

Artistic Achievement Award:

HARVEST TIME (Vremia Zhatvy) by Marina Razbezhkina, Russia

Special Mention:
KARPUZ KABUGUNDAN GEMILER YAPMAK (Boats Out of Watermelon Rinds) by Ahmet Ulucay, Turkey.

FIPRESCI AWARDS
FIPRESCI award for a film of the International Competition:
LU MAO TZE (The Green Hat) by Liu Fendou, China
and for a film of the Greek Films 2004 section to,
DELIVERY by Nikos Panayotopoulos, Greece

JAMESON PUBLIC CHOICE AWARDS:
KHAB E TALKH (Bitter Dream) by Mohsen Amiryousefi, Iran.
for a film of the Greek Films 2004 section to
MI FEVYIS (Don't Go) by Alexandros Pandazoudis The award is accompanied by a prize of 3.000 euros.

THE GREEK FILM CRITICS ASSOCIATION (PEKK) AWARD:
CC TV by Vasilis Katsikis
and to
ALITHINI ZOI (Real Life) by Panos Koutras.