Christos Nikou’s black comedy about a plague of forgetfulness is intriguingly absurd but not as memorable as it thinks it is
Here is an enigmatically quirky Greek film about identity and memory, much talked about and talked up on the festival circuit. It’s the work of debut feature film-maker Christos Nikou, who cut his teeth as second assistant director on Yorgos Lanthimos’s pioneeringly weird Dogtooth in 2009 – that seductive film whose bizarre stylings ushered in an entire Greek new wave of cine-absurdism. This is a movie in that recognisable style, and I incidentally think the Greek auteurs really have brought absurdism back in ways not seen the first wave of Beckett, Ionescu and Nf Simpson in the theatre.
Apples is intriguingly deadpan and sometimes funny, though I couldn’t help feeling that it is also contrived, and even a bit flippant in a middleweight-arthouse mode, not quite as...
Here is an enigmatically quirky Greek film about identity and memory, much talked about and talked up on the festival circuit. It’s the work of debut feature film-maker Christos Nikou, who cut his teeth as second assistant director on Yorgos Lanthimos’s pioneeringly weird Dogtooth in 2009 – that seductive film whose bizarre stylings ushered in an entire Greek new wave of cine-absurdism. This is a movie in that recognisable style, and I incidentally think the Greek auteurs really have brought absurdism back in ways not seen the first wave of Beckett, Ionescu and Nf Simpson in the theatre.
Apples is intriguingly deadpan and sometimes funny, though I couldn’t help feeling that it is also contrived, and even a bit flippant in a middleweight-arthouse mode, not quite as...
- 5/6/2021
- by Peter Bradshaw
- The Guardian - Film News
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