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Theo Angelopoulos Τribute

1.  Landscape in the Mist / Theo Angelopoulos, Greece
2.  The Travelling Players / Theo Angelopoulos, Greece
3.  Voyage to Cythera / Theo Angelopoulos, Greece

I walked around a lot in feelings,
mine and those of others,
and there was always space between them
for wide time to pass.
Kiki Dimoula

How does one describe Theo Angelopoulos? How does one encapsulate an oeuvre which is incomparable and monumental, both aesthetically and cinematically? How does one encompass the manifestations of a creative genius that extended over a myriad dimensions and embraced memory, time, politics, poetry, history, Greece, water, mist, existentialism, ideology and death? Like flashes of memory, words and images keep coming back to me; Manos Katrakis on a raft, enveloped in mist in Voyage to Cythera, or Lenin on the Danube in Ulysses’ Gaze.
And then comes a personal memory. At the first presentation of The Travelling Players at the Berlinale, the screening began late at night. We walked into the cinema, leaving the darkness of the night behind us, to enter into the cinematic light of Theo Angelopoulos. We immersed ourselves in the images and the journey of the film, and when the film was over, a discussion began between the director and the audience. Nobody wanted to leave; no one checked his watch. When we finally left the theater, we came face to face
with the sun that had just risen. Time had expanded; we were still imbued. Wide time had passed, as the poetess Kiki Dimoula says, by this memory, but it hadn’t changed it, as it never will for the work or the memory of Theo Angelopoulos him self. For us, here at the Thessaloniki Film Festival, he will always be present.

Dimitri Eipides
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