The films of Greek director Theo Angelopoulos provide special pleasures for moviegoers interested in something out of the ordinary. From the beginning of his career at the start of the 70s, Angelopoulos has explored aspects of his country – its history, its place in the world – in a series of stunningly photographed, richly conceived films. His work isn't to everyone's taste, but in masterworks like The Travelling Players, Journey To Cythera, Landscape In a Mist and others, Angelopoulos can lay claim to major status.
Ulysses' Gaze, which won the 2nd prize at Cannes 2 years ago, was made when the Bosnian war was at its height; it was also made at the time the world was celebrating the centenary of cinema. Harvey Keitel plays a Greek-American filmmaker who returns to his homeland after many years absence to research a documentary on the Manakia brothers, pioneers of Balkan cinema. His search for films the brothers may have made at the turn of the century takes him from one Balkan country to another.
In this beautiful but complex film, which is very difficult to describe in a nutshell, Keitel's quest takes him inexorably to Sarajevo. His odyssey gives Angelopolos the peg on which to explore the seeds of the recent Balkan conflict. An example of the brilliance of the director and his amazing cameraman, Yorgos Arvanitis, is an amazing scene in which 5 years of post-war Romanian history are encapsulated in one brilliant New Years Eve sequence. The Sarajevo scenes, which feature Erland Josephson in a role originally played by Italian actor Gian Maria Volonte, who died during production, were filmed under extreme difficulties. Mention should also be made of the haunting music score by Eleni Karaindrou. Ulysses' Gaze is demanding, but supremely rewarding.
