[after his parents have left, thinking he is ill] "They bought it. Incredible! One of the worst performances of my…
Marina, 23, is growing up with her architect father in a prototype factory town by the sea. Finding the human species strange and repellent, she keeps her distance. Instead she chooses to observe it through the songs of Suicide, the mammal documentaries of Sir David Attenborough, and the sexual-education lessons she receives from her only friend, Bella. A stranger comes to town and challenges her to a foosball duel, on her own table. Her father meanwhile ritualistically prepares for his exit from the 20th century, which he considers to be "overrated." Caught between the two men and her collaborator, Bella, Marina investigates the wondrous mystery of the human fauna.
A comparison with Haneke is, in my humble opinion, absolutely out of the question.
My hypothesis is that Athina Rachel Tsangari comes as a hybrid of Giorgos Lanthimos' Kynodontas (2009) and Chantal Akerman's Les rendez-vous d'Anna (1978), the first one thematically, the second one visually.
The thematic connection can be drawn from the condemnation of the 20th Century as a "remnant of toxic modernism of post-Enlightment"; Kynodontas condemns the post-industrialist current reality almost as much as Attenberg does. The concept of a family isolated from civilization and unleashing uncommon behaviors as an integral part of their personalities is another similarity. All of these elements play part in an absorbing environment of dredd and hopelessness.
The visual connection, on the other…
This film is really fucking seductive. It's perfectly shot, and the performances are impeccable, completely flawless, and yet there's not really that much substance: that's okay though, this is a film that doesn't need substance. It holds itself together in its' own very sexually assertive way.
Between the two Greek films I've seen - this and Dogtooth, it's safe to say these filmmakers love their weird and off-the-wall cinema.
A very quietly, cynically devastating piece of work.
A very strange movie from Greece. In this one a 23 year old lady is taking care of her ill father. During the course of the movie we watch as she ventures into a relationship with a man for the very first time. The storyline involving her father is easy to understand. The storyline involving her boy friend is strange but kinda of makes sense. The storyline involving her best friend is just weird. The movie repeatedly cuts to the two friends doing some strange dancing. If you take a look at the cover...you see that the main character is double jointed...I read on IMDb that lots of people find that really sexy....like this movie I found watching her do her shoulders this way....difficult to watch.
Marina kind of hates other people. She gets her friend to teach her about kissing while her dad is preparing for death since he's bored of the 20th century. The opening shot it a long take of Marina and her friend Bella basically licking each other for five minutes. Typical Greece, really. What did you expect from the country that brought us Dogtooth? Attenberg is a solid film that's entertaining and quirky without having too much to say. Marina is a strange but cute character that's fun to hang out with and her sexual development is good fun to experience. The film's an easy watch, not a vast amount of substance but it's a good 90 minutes. Eww shoulder blades.
I really liked this.
And I'm not sure why people keep thinking that she directed Dogtooth as well, when she didn't. Maybe because Yorgos Lanthimos was in it and co-produced.. or because Athina produced Dogtooth.
But a lot of people on netflix apparently went into this expecting the same thing as Dogtooth, hey guys! News flash! Greek cinema is more than Dogtooth.
Since everyone is comparing this to Dogtooth, I'll join in and declare allegiance to #teamattenberg. Less obviously directed--the world isn't quite as bizarro or contained--but better for it, because it's more subtle and more devastating. Whereas DOGTOOTH worked purely on abstract levels, ATTENBERG successfully straddles the line between observational unease and a more conventional narrative through-line. Case-in-point: the obsession with Industrialization--there is only once scene in the entire movie to broach the topic, but it rears its head everywhere, especially during the car rides that seem to want desperately to get away from all the smoke and industry. But no underlining, strictly background, until it comes to the forefront for the ending--voilá, subtle political edge. I'll throw in a mention…
μια πουτσιά θα ήθελα παρακαλώ
perfectly captures my subconscious self
Greek Weird Wave <3
"Attenberg" is een film die veel wilt zeggen en daar voor een groot deel in slaagt. Hier en daar zijn er wat slordigheden, maar het is een interessante kijk op zowel het lichaam/seksualiteit (en mens zijn), als de economische status van Griekenland. De vader benadrukt een aantal zaken waar het fout is gelopen met het land. Dit alles is gekoppeld aan heerlijk absurde en awkward situaties. Ariane Labed is absoluut fantastisch zoals gewoonlijk. Het feit dat Yorgos Lanthimos meespeelt is de kers op de taart. Die man heeft een mooi leven, massa's talent hebben en getrouwd zijn met Labed. Athina Rachel Tsangari is een regisseuse om nauwlettend in het oog te houden, ze kan wel eens de tweede Greek Weird Waver zijn die internationaal doorbreekt.
Sex & Grief. Grief & Sex. Largely watched this because of the Dogtooth connection & it didn't disappoint.
Completely weird & bleakly funny, learning about the birds & the bees through the works of Sir David Attenborough, why not?
The other take away from the Dogtooth connection is that seemingly a lot of young Greeks seem to be home schooled.
12 December 2015 ★½
Appreciate it more as detached character study than personal allegory of modern Spain which it sifts towards with its last shot.
Put off by what initially struck me as overly mannered—opening is refreshingly jarring, but the paired walking scenes and penis tree dreams irritated. Came around in a big way though, once it became clear what Tsangari was going for (went in blind, so basic setup, let alone comparisons to Dogtooth couldn't point the way). Couched in the real world, it's necessarily more subtle, less allegorical (not necessarily better though), with the political undertones, themes of Industrialization, etc. mentioned mostly in passing, only to creep in during ostensibly rote establishing-shot interludes and finally resurface at the end; but even then, thoughts on Antonioni crept in (and I haven't even seen Red Desert yet). The surface level of abstraction here—the anthropological/naturalist…
"You're all slobbery."
Like a straight-faced Daisies without the food. Totally, 100% unbearable.
"Seeing genitals in your sleep is a bad omen."
Strange and a bit unsettling, Attenberg at time feels like a documentary made by alien creatures about humans. With a stylized acting style that provides a distance and uncomfortability, it's odd film with a strong emotional core about love and loss dealing with sexuality, family, and death. Each time I've watched it the film became more interesting to me as I fell into the idiosyncratic rhythm.
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The 2015 edition of the They Shoot Pictures, Don't They? 21st Century's Most Acclaimed Films list.
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