El verano con Carmen

The storyline isn't terrible, but it's evident that the film's primary target audience is the Greek community. The lead actor's frequent nudity seems calculated to draw in viewers and generate buzz, but in my opinion, it detracts from the overall authenticity of the film. Tsiantoulas's performance is inconsistent, indicating a lack of effective direction from the filmmaker, which might have better served to guide him to a more convincing portrayal. Additionally, the film straddles the line between comedy and drama without fully committing to either genre. In summary, while it's worth a watch, particularly for a Greek audience, it's best to approach it with tempered expectations.

This Greek film subverts the love story by having gay partners working on the script of a film, extracts of which are cleverly interspersed with the action and sometimes amusingly contradicts it. I'd go so far as to say this is a real original. Even if I'm wrong, I believe I'm right in saying the film will lead to a major offer to director Zacharias Mavroeidis. He's made a few films before but nothing that's had potentially international appeal. This will be a particular joy for film fans, referencing Hollywood and British cinema. Pretentious or not, I knew from the first perfectly framed shot, on the rocks of the Athens coast, that Mavroeidis has talent. This was indeed the case. He draws excellent performances from his entire cast, notably charismatic star Yorgos Tsiantoulas. The film is also beautifully filmed around Athens and some of the footage on the coast is stunning. It includes a sequence in which the partners imagine turning their film into a musical, which is a delight. Zacharias and Yorgos were both at the British premiere at Flare last night, 15 March 2024, and told us great stuff about the Greek film industry (no agents, no intimacy co-ordinators), Carmen the dog, and Zacharias's hope that the film will be condemned by the Greek church. Yes, there's a lot of male nudity and that may be the main reason the screening was sold out. But the film is much more than exploitation: another critic has said that "existential philosophy has never been more playful than it is here" and he's dead right.

This is an incredibly well-constructed movie, brimming with irony and following the tragic yet thought-provoking patterns reminiscent of ancient philosophers like Plato. The narrative subtly explores the complexities of human emotions, where the love between the main characters remains purely platonic, highlighting themes of connection beyond the physical.

A special mention goes to the dog, who delivered a surprisingly nuanced performance. Her presence is not just charming but integral to the plot, adding emotional depth and symbolizing loyalty and companionship in ways that enhance the storytelling.

The film's unique sense of humor stands out, masterfully blending subtle wit with a post-ironic visual narrative that keeps the audience engaged. This clever approach elevates the movie, offering layers of meaning that invite reflection long after the credits roll.

I give it an extra 100 out of 100 for its brilliance-both in its humor and innovative narrative structure. It's been over 100 minutes of pure cinematic delight, leaving me entertained and impressed in equal measure.

When I started watching this movie, I thought, "An ordinary audience will probably think the film includes too much nudity." When I read the reviews, I realized I was right. However, this film doesn't actually contain excessive nudity. Instead, it portrays an aspect of gay culture. One of the most misguided judgments originating from a heterosexual mindset has always been the attempt to equate gay culture with heterosexual culture.

Yes, gays demand to be treated equally in society regarding rights and freedoms, and they are absolutely justified in this demand. The modern world has started to pave the way for equality, although there is still a long road ahead to achieve complete equality and freedom. However, we must understand that gay culture cannot be reduced to just a relationship between two people of the same sex. It is a broader concept that includes unique elements.

In gay culture, the way social life is lived may share similarities with heterosexuality, but the lifestyle demonstrates notable differences. For example, open relationships, orgies, and group dynamics are more widely accepted within gay culture than in heterosexual culture. Sexuality, rather than just sex, is a defining feature of gay culture and plays a crucial role in shaping identity.

Returning to the movie: yes, it features nudity, but this serves as a colorful element that adds cheerfulness and reminds viewers that the film stems from gay culture.

As for the movie itself, I liked it very much. Above all, experiencing Greece during the summertime made me feel wonderful. The actors-Yorgos Tsiantoulas (Demosthenes), Andreas Labropoulos (Nikitas), Nikolaos Mihas (Panos), Roubini Vasilakopoulou (Keti), Vasilis Tsigristaris (Thymios), and others-deliver outstanding performances. Their acting convinces us that they are as real as we are. The dialogues between the characters are relatable and innocent.

While the movie avoids diving deeply into melancholy, it provides a strong depiction of the characters' past experiences. The film's greatest success lies in its technique. The script and direction employ an innovative storytelling method. Flashbacks, typewritten notes, and structuring the film as a discussion of a movie scenario are completely fresh elements. For this, the director, Zacharias Mavroeidis (also the scriptwriter), and Fondas Chalatsis, the co-scriptwriter, deserve congratulations.

If you are a heterosexual viewer and find gay nudity disturbing, consider how many heterosexual nude scenes a gay audience sees in mainstream movies. Gay individuals endure many such scenes-not only in movies but also in commercials, magazines, TV shows, billboards, and daily life. Try to view it from their perspective.

If you watch an heap of gay cinema, especially from South America, then this kind of story isn't really that novel. There are plenty where hunky heroes like "Demos" (Yorgos Tsiantoilas) has a best mate "Nikitas" (Andreas Labropoulos) - who is obviously quite keen on his pal who doesn't really reciprocate in the way he wants, and who takes advantage of the local nudist beach and fairly vibrant gay community to get naked for much of the film and get down to some furious jogging with "Thymios" (Vasilis Tsigristaris) whilst on the rebound from a four year relationship with "Panos" (Nikolaos Mihas) with whom he looks after their dog "Carmen". Still with me? Well what now ensues is a rather predicable plot wrapped within the concept that the first two characters are thinking of writing a movie about this emotionally charged scenario. Along the way, there is plenty of soul-searching as just about everyone has to deal with their demons and hopefully emerge the better person. There's a much more continental-style dose of casual shagging that might raise eyebrows amongst those more used to a more Anglicised take on sex with subtle cutaways and perfectly placed pot plants (though it's not quite "Theo and Hugo" (2016) either). It's really a film about finding yourself and seeing what's squarely in front of you, but by using the film-making arc to give the audience a degree of observational objectiveness, it rather made me feel like a prurient fly on a wall where I didn't always belong (or care). The acting is natural and adequate, it's beautifully shot and there are plenty of rousing arias to enliven it, but I'm afraid I found it just a bit over-complicated and unoriginal.