Mikra Anglia

Little England is the beautiful Greek island of Andros, in the 1930's - an island breeding sailors who spend most of their lives at sea, while some of them are destined never to return. Their women – mothers, daughters, wives, lovers - adjust their own lives to the pattern of the men's absence, looking forward to the happy yet brief homecomings, always praying for their safety, always half-dreading the worst.

This is the premise of the film's story - a tragic love story of epic proportions - based on Ioanna Karystiani's best-selling book. Mrs. Karystiani herself finely adapts her novel for the screen, while her husband, renowned Greek director Pantelis Voulgaris ("Brides") takes it from there and, with the help of a great cast of actors, creates an almost flawless masterpiece.

(I am not supposed to give away any spoilers, so I can only say that the film's climactic scene will probably make it to my personal top ten movie moments of all time).

I watched this movie when it was first released and I didn't find myself in awe, unlike literally everyone else I knew. So, I gave it a second and a third chance, because I didn't want to be unjust. It's definitely an extremely meticulously made film, with exceptional aesthetics and use of sounds. I found the parallelism of people's feelings to the sea's temper astounding. BUT. I have a major issue with the very essence of the film; it's overly dramatic portrayal of a tragic story. I do realize the movie's totally different era, culture and values, but I can't digest easily one's submission -especially without a fight- to an unwanted fate that somebody else imposes on them. Plus, I found the acting to be quite unnatural and over the top, to the point it felt disturbing -especially by Moscha and sometimes by Orsa and their mother. I understand the director's poetic/theatrical point of view, it just felt too much and too dragged for me. However, it is a beautiful movie, absolutely worth watching and reflecting upon.

Within a general view, this movie is highly above average. Moreover, the last 40-45 minutes of the movie is almost perfect; proper cinematography, aesthetic scenes and succesful tension of psychological portrays.

But, the movie has a rhytm problem. Within different parts of the movie, events happen in different time speeds. In the beginning, years flow rapidly and some major matters happen in seconds or minutes. In middle parts, while rapid flowing continues, a moderate speed starts to determine the scenes. Finally, in last 40-45 minutes, the movie finds its rhytm and every seconds of movie gets more staggering.

Except rhytm problem; it is an awesome drama.

Pantelis Voulgaris in his best so far film. The actors, photography, scrip everything was in tune! I am Just grateful I have watched this film! The aesthetics have a unique character. The cinematography gives of a real character to the film. Every angle is beautiful and truly can me isolated, framed and hung on a wall. Nevertheless it is so humble without exaggerations operates in favor of the storytelling. The characters are very well written and have an amazing depth to a point that become symbols. The actors gave wonderful performances and in many cases we see excellency in acting. After leaving the cinema I felt that I have seen something magnificent. I cannot recall many films giving me such filling!

Great cinematography of landscapes and faces, portrays the unseen Greek island, the Greek people of the 30s, and a story about romance, submission and the silent triumph of love.

It grasps you from the beginning, so long you settle with the way these people are to speak. To my opinion, mostly when they are in silence, true performances emerge to be given by some of Greece's youngest and eldest actors, performances that go back and go deep into the human tale.

And, not to be missed! , one of the most excruciating scenes since the beginning of cinema, performed by Pinelopi Tsilika.