nome d’arte 50 8 Δ.Δ.Δ. by Dimitris Dimitriadis, Amore Theatre, Athens, 2002 - Blaubart by Dea Loher, Porta Theatre, Athens, 2004 - Still life in ditch by Fausto Paravidino, Amore Theatre, Athens, 2008 - Platonov by Anton Čechov, National Theatre of Greece, Athens, 2011. As for the Master of non original-music reuse Stanley Kubrick Stanley Kubrick, Lanthimos alternates Henry Purcell to Elton John [The Favourite], Ellie Goulding to György Ligeti [The killing of a sacred deer, 2015], Carmina Burana by Carl Orff to Popcorn by Gershon Kingsley [Alpeis, 2011], Kinetta's total silences to the depressed out- of- tune singing of How deep is your Love by Bee Gees, in his theater direction of Anton Čechov’s Platonov [National Theater of Greece, 2011], in a constant distortion of sounds, meanings or times wanting, and getting, disorientation and discomfort. From Athens to London, where he moved in 2011 with his wife Ariane Labed Ariane Labed, known on the set of Attenberg and brought to the set of many of his works, Yorgos Lanthimos’ oeuvre comes to break your thoughts to keep you alert, comes to sting you like a cactus in an arid landscape. A cinematography disinfected of any kind of emphasis in which a dark evil always permeates, morbidly, the off-screen. Cinema: presented last August in Locarno Nimic, with Matt Dillon and the return of Lanthimos to the short film, while the remake of Pop.1280 is in progress, whose release is expected in 2020. Theater: four are the pieces he signed and brought to Athenian stages between 2002 and 20118, and the announcement of a commission for the Greek National Opera Greek National Opera, whose debut will take place in the spring of 2020. Photography: not only independent artistic projects independent artistic projects, but also fashion fashion editorials for V Magazine in 2016 and, in 2019, for W Magazine, for Vogue Greece and for the lookbook of the Gucci Gucci men's cruise collection. Although it is palpable in Lanthimos' cinema a caesura between an ante-Greece and a post-Greece age - which passes through a loss of immediate geographical connotation, with all that this can entail in terms of characterization - his stylistic features remain the same, in a young cinematography that can already be connoted as a whole, in a range of action today expanded from Greece to the rest of the world. He recently has been recruited by Superprime Superprime, a production company including names the likes of Paul Thomas Anderson Paul Thomas Anderson, Martin Scorsese, Damien Chazelle Damien Chazelle and Terrence Malick Terrence Malick, keeping his usual creative team - not only Efthymis Filippou, but also Thimios Bakatakis Thimios Bakatakis, director of a powerful clinical photography, and Vasilis Marmatakis Vasilis Marmatakis for the graphics of his wonderful movie posters. Diegetic and dietetic image and sound buildings; elegant tracking shots or panting runs with a shoulder-mounted camera; restless slow-motions, pathogenic fade-outs and pictorial wide angles, depending on the emotional load to be involved. Blinding doppelgänger behind the glass and blind eyes; heads decapitated by a crooked frame, like that contemporary art erasing faces, and bursts of violence in a calm sea. An apparently random animal never at random, recalling the artistic use of allegory. A pop hit within a refined sound design, like a trapper at a chamber music concert. Like Morgan with Zagrebelsky. It is an idea of cinema, that of Yorgos Lanthimos, born of an epidemic, and therefore political, disease. However, his films are not political but made politically made politically, in the most Aristotelian sense of the term. Because they come from Greece, where classical civilization and the very idea of politics was formed. There where today, thanks to a director who has been able to translate into art a virus to be eradicated starting from its roots, a new Weird Wave has risen. www.lanthimos.com www.instagram.com/yorgoslanthimos
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