Association: Second Grade of Senior High School, Composition, Presentation/Reviewing
Read the following reviews and fill out the table according to each column’s topic.
The film is striking. Dimitris Koutsiabasakos’ camera, accompanied by the wonderful music score by Vangelis Fabas, manages to capture in a magical dialogue the moments from the “life” of the Prison, observing the times and the passing events, following the memories and the feelings. While the spectator normally moves between sorrow and affection towards satisfaction of the final “demolition of a Prison,” at that point, a sudden and unexpected finding brings to light the unknown past of the monument and raises a crucial question: how one ought to cope with the historical memory? Do we have the right to permanently erase the past? (Eleni Lintzaropoulou, Fractal, http://fractalart.gr/siwpilos-martyras/)
This ingenious film director invades with his camera to the desolated space of the prison, along with his special “guests,” who they might be sighting the building for the last time – but definitely not for the first time: three past inmates, a retired prison officer, the former director of the prison, a female professor in a school for adults, along with a female investigator, all of them in a state of recall. Personal life stories, memories, life-time experiences. They present the prison itself through their narrations, and at the same time, the country’s recent history unfolds before the eyes of the audience. In a humorous, honest, authentic and respectful way, the audience enters the prison cells with them, and opens a discussion with the prison itself and with whatever it represents for society as a whole. (Myrto Hatzina, Crime Times, https://goo.gl/Y1FZuA)
Through his disctinctive use of the dipole comicality and sorrow, Koutsiabasakos pays attention to the stories (always without a clear commentary), along with the help of the historian who participates in this venture, Ms. Maroula Kliafa, he integrates them in the historical context, and then… he deconstructs them, offering a chance for a fertile thinking on the issue of the handling of the historical memory, using moments of unforced ordinary people’s humor. (Tatiana Kapodistria, To Spirto, http://tospirto.net/cinema/movie/2061)
For me, this certain film forms an alternative kind of a museum, in fact, it holds all the elements that a good museum ought to carry… It holds…
… Authenticity and documentational value through the systematic mapping and illustration of all the prison spaces and all the mobile “findings” – the objects that comprise its material inventory.
… Directness, liveliness, honesty, and truth that have been gradually built up and constructed through the narrations of the seven individuals, which reflect the different voices of the prison and the life experience inside it.
… Emotional diversity, through which the complex network of relationships that evolves inside the human habitat of the prison (but also that of the broader society and its citizens who have been in a compulsory everyday dialogue with the prison) is interwoven. We have to keep in mind that the prison of the city of Trikala, as an embellished building nowadays, which the municipal authorities of the city vision to run as a cultural center or a museum, it is located right in the center of the city.
… The film expresses in its own distinct way the thing we ought to remember and follow in our own lives, in our everyday life and of course in our museums – which are memory spaces, but also places of vibrant contemporary discourse – that is, “giving prominence to diversity makes the difference.” (Marlen Mouliou, Museologist, https://goo.gl/pKvFDX )
Plus and Minus
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