Yorgos Symeoforidis is the character and Yorgos Symeonidis is the actor who plays him—just one sign of this Greek drama’s annoying, some might say marvelous, sense of ambiguity. When Yorgos emerges from prison, audiences don’t notice the man so much as the prison bars he walks behind, and when he takes a bus to a day center for former prisoners, a cemetery hangs noticeably in the background, hungry for our attention. Throughout the film, writer-director Thanos Anastopoulos self-consciously thrills in propping Yorgos near gates and spiderwebs, strained poetic expressions of the man’s presumably crippling sense of entrapment, but what’s the story with Mr. Gloom? Stray bits of dialogue hint at the conflict between Albanians and Greeks, and when a recent murder dredges up the memory of a man who was killed by “football freaks” years ago, it becomes clear that the woman (Ornela Kapetani) whose life Yorgos is attempting to ingratiate himself into may actually not be his own wife but that of the dead man. But then, it still isn’t clear how Yorgos is involved in the man’s death or if Yorgos is even Greek: Because he says his name with trepidation, one gleans that Yorgos is either ashamed of his Greek identity or the Albanian one he left behind. Though it’s interesting how the story thrives on audiences not being able to tell the races of its characters apart, conveying how racism is sometimes more than skin deep, Anastopoulos’s other means of drumming up suspense are less forgivable. Where other films kill you with exposition, Correction delights in providing none, which can be just as shrill when you know a character, like Kapetani’s, could very easily put an end to the story’s mystery tour by simply telling her daughter why Yorgos is creepily stalking them. Anastopoulos’s style doesn’t help. He locks background and foreground planes in stringent lockstep, conveying capital-d Distance in a way that doesn’t seem to really connect with or shape the story, though it does mirror its passive-aggressiveness. Half the time you expect an appearance by the ghost of Antonioni—or a cameo by Nuri Bilge Ceylan.
- 83 min
- Thanos Anastopoulos
- Thanos Anastopoulos
- Yorgos Symeonidis, Ornela Kapetani, Savina Alimani, Nikos Georgakis, Bujar Alimani, Dimitris Liolios, Nikoletta Kyrana, Edda Ghemi, Armando Daouti, Gherghi Bega
- Slant is reaching more readers than ever before, but advertising revenue across the Internet is falling fast, hitting independently owned and operated publications like ours the hardest. We’ve watched many of our fellow media sites fall by the way side in recent years, but we’re determined to stick around.
We’ve never asked our readers for financial support before, and we’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees. If you like what we do, however, please consider becoming a Slant patron.
You can also make a one-time donation via PayPal: