nome d’arte Id. no. NAME, SURNAME, OVERVIEW. 48 Morgan and Zagrebelsky, the synth-pop musician and the constitutionalist - because the seemingly nonsense combinations are the most powerful echo chambers of sense - as bastions of doubt’s sacrosanctitas. In a time, ours, of the fall of myths fall of myths. Our time. The time of crisis. But in the root of crisis also lies its overcoming, when one can find the courage to oppose the opportunist reductionism paralyzing, towards the search for roots. See critique, crisis at its root, which when enlightened stands as exercise of Pure Reason. In medicine, crisis - from the Greek κρίσις, choice, decision - is also that ridge from which healing in disease can be glimpsed. Crisis as breakthrough. But you have to go down deeper. As happened in Greece, in our time, when the crisis-virus had a decade-long incubation since 1999, proliferating on false balance sheets grafted like bacteria to guarantee the reception of the Country within the Eurozone, to burst then devastating, in 2009, on a body-Country infected in its lymphatic and nervous - economic and social - system. Panic in world economies, contagion terror, Greece in quarantine. It was in this sphere touching disease that contemporary Greek cinematography contemporary Greek cinematography began: a critical pathological state that, materially spread in the Country's lymph nodes, was intellectually fought with what lies in Hellenic DNA since its roots: dramaturgy dramaturgy. The reality of krisis was responded with a carnal cinema of krisis, which did not concern the moralism of aetiology but the anatomy of the body, the physiology of the disease, the course through which it narratively and aesthetically infected human relationships and social constructs, by its very nature aware of the power of metaphor and of Greek roots - myth and tragedy, above all5. An alternative therapy to which the critic Steve Rose first, from the columns of the Guardian in 2011, gave the name of Greek Weird Wave Greek Weird Wave - as if it were thalassotherapy, because since Nouvelle Vague cinema proceeds in waves, like the sea - writing that «the world’s most messed-up Country is making the world’s most messedup cinema». Zeitgeist, cinema as a mirror of its time and directors as sons of their context, imagining and directing everyday nonsense scenes, to react to a systemic scenario of total loss of sense. It was 2009, therefore, when Georges Papandreou's government announced the launch of a very strict austerity policy in an attempt to contain the crisis-virus. Fighting in the only way they could, with neither budget nor state support but confiding in the mutual one, the nascent Greek Weird Wave replied in the same year with an absolute manifesto: Kynodontas by Yorgos Lanthimos, produced and distributed thanks to only 250,000 € [to mostly on loan from private friends and supporters] by Athina Rachel Tsangari Athina Rachel Tsangari's Haos Film - former producer of Kinetta, Lanthimos' first feature film in 20056 - that the director will reciprocate in 2010 by producing and acting in her Attenberg. Kynodontas, Dogtooth, second work by Lanthimos, instant Un Certain Régard prize in Cannes and nominated for Best Foreign Film at the Oscars, is the story of a family unit in which parents educate three children, whose baby teeth have largely fallen by time, to a world that does not go beyond their beautiful home, sabotaging language and tampering with culture, recreating laws, instilling fears and establishing superstitions, in the wicked attempt to make that microcosm self-sufficient, finite. Closed. In their totalitarianism to the extent of family affection - in which, simultaneously translated from the pater familias’ very tight sieve, Frank Sinatra is the dearly extinct grandfather who, in Fly me to the moon, sings the irreplaceable hearth values - the outside will be ready to be explored only for those to whom, according to the domestic dictatorship, a canine will be fallen. But the outside will burst detonating, by means of cinema. Greece as a beautiful and isolated house at the hands of a perverse administration, in the name of a morbid protection. Salvific is imagination above all things, in Yorgos Lanthimos, which in his young and powerful «Very often a crisis is anything but crazy, it is an excess of lucidity» [Bluvertigo, La crisi, et. Mescal, 1999] «When times get fierce, the first to be taken out will be myths, because they will have to come to terms with unequal weapons with wolves left and right. This is their time» [G. Zagrebelsky, La virtù del dubbio, ed. Laterza, 2007]
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