Archives for Son of Sofia

Talking with director Elina Psykou

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AWARD-WINNING DIRECTOR ELINA PSYKOU TELLS UNIQUE STORIES

There’s a clear-eyed focus concerning Elina Psykou filmmaking outlook. Yes, she a female director—underrepresented, lauded—and as a Greek director she’s gaining ground on her auteurs peers like legends Theo Angelopoulos and Costa-Gavras, and rising-star Yorgos Lanthimos (Dogtooth and The Lobster). But she seems less interested in being analyzed as a female or Greek director than telling insightful stories not confined to one country or nationality; she’s busy honing her craft.

When making films, Psykou says, “I prefer not see everything as black or white. Everything depends on the point of view.”

Her latest film, Son of Sofia, had its U.S. debut in April at the Tribeca Film Festival, where it received the prize for the Best International Narrative Feature. Her sophomore effort is set in 2004, but its clash of Russian and Greek cultures seems acutely timely as current immigration issues provide searing headlines around the globe.

CHECK OUT MY REVIEW OF THE FILM HERE

Son of Sofia is the tale of 11-year-old Misha, a Russian boy who arrives in Athens during the 2004 Olympics in Greece. Two years prior, his mother relocated to the country following the death of her husband and now Misha joins her. There reunion, to say the least, is awkward. Attempts by mother and son to reconnect are hindered by bitterness, deception and culture clash. Misha’s faced with many changes, including gaining an unexpected stepfather.

To hear Psykou talk is to hear her appreciation for cultural variety.

“It makes no difference wherever you are from,” she says. There’s a commonality in our yearning, our fears. Whether it’s a Russian kid or Greek kid. “When you are a kid you are the same,” she says.

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Psykou is an alchemist of sorts: she mixes Greek sensibilities in with Russian folklore, then stirs in a bit of dry humor, social commentary and suspense.

Particularly, it’s the fantasy elements that subtly, then boldly run through the film. “I believe kids love fantasy,” she said. So it made sense that Misha turns to fantasy in the face of his confusion. It is a way for the quiet, isolated boy to give voice to his fears and anger. But, Psykou notes, Misha isn’t the only character who looks to fantasy. Each of the main character—Misha, his mother and his new stepfather—use some level of fantasy to cope.

“The film is an opportunity to explore fantasy,” Psykou says. “The three main fantasy scenes in the film all occur during turning points in the film.”

Like her awarding-winning “New Wave” first film, 2013’s The Eternal Return of Antonis Paraskevas, Son of Sofia invests in clever observation, off-beat characters and deliberate pacing. Son builds upon Psykou’s eye for detail and steadicam work and her abilities to mesh the surreal and the concrete.

She finds influence in Austrian auteur Michael Haneke (Funny Games, Amour) and American indie great Sofia Coppola (The Virgin Suicides, Marie Antoinette). Haneke’s cold, creepy intellect is evident, and so is Coppola’s doggedly atonal uniqueness.

What’s next for the talent director? A planned documentary that features people who travel to other countries to receive services—abortion, cremation—not available to them in their native lands. A third film will follow the documentary.

It’s all about staying focused on her craft. Ultimately, Psykou wants to be in a position to create films on a regular basis.

“I’d like to make films every three years,” she says.

 

| Marvin Brown’s Movie Review Archive

Quik Flix Hit

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Tribeca Film Festival

Son of Sofia (2017)

Unrated

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The little Russian boy is grief-stricken, seemingly abandoned, deceived and brought to a country whose language and people he doesn’t understand. It’s not surprising that he gradually retreats into fantasy, which is at first cute, then grows disturbing and possibly dangerous.

Writer-director Elina Psykou (The Eternal Return of Antonis Paraskevas, 2013) sets her sophomore film during the 2004 Olympic Games in Greece, a time of clashing cultures, and of civic pride and competition.

Misha (Viktor Khomut) arrives with the Russia Olympic team to Athens and reunites with his mother Sofia (Valery Tcheplanowa), who has been settled in Greece for more than two years. Details of their separation are vague, but involve the death of Misha’s father and his mother establishing residency to provide for herself and her son. It’s an awkward reunion. Sofia seems to be trying to muster up joy with forced affection and a ridiculously large stuffed animal in tow. Misha immediately regards her tightly rolled-up hairstyle as foreign. He tells her his mother wears her long, beautiful hair down.

READ MY INTERVIEW WITH DIRECTOR ELINA PSYKOU

Things get more awkward as 11-year-old Misha learns he shares his new home with an elderly Greek man, Mr. Nikos (Thanasis Papageorgiou), who Misha is lead to believe is in the care of his mother. Mr. Nikos doesn’t speak Russian and doesn’t want it spoken in the home. Quickly, of course, Sofia’s deception is foiled. Misha discovers her sleeping in the same bed as Mr. Nikos. By the time Sofia belatedly confesses to being married to the man, an irate Misha has sealed himself in the bathroom. To be sure, Sofia has also kept Mr. Nikos in the dark, leading her husband to believe Misha was informed of gaining a stepfather.

The entire film seems populated by characters trapped within themselves, despite being surrounded by colorful culture and an influx of immigrants and opportunities. It’s a sad, quiet tale of people unable to make connections beneath the surface, which inevitably reinforces fantasy and delusions. Misha, often cloaked in a bear costume, finds strength and aggression in his imaginary world filled with moving, growling stuffed animals; the self-important Mr. Nikos longs again for the magical era when he possessed fame; Sofia seems adrift in the space between a past happy life in Russia and this makeshift family in Greece. A quiet scene of the family eating together while watching television hints at a domesticity that will never be.

Psykou’s film is filled with characters you don’t know whether to like or dislike. Sofia seems disconnected as a mother, sneaky and deceptive in ways that seem unnecessary. She leaves Mr. Nikos to do much of the caretaking while she’s away working at a textile company, making stuffed animals. In addition to deceiving her son about being married, she also lies about watching a beloved TV series Misha intended to watch with her, and for good measure keeps a secret stash of candy hidden in the toilet tank. She seems unhappy at her job and in her roles as a parent and a wife.

Mr. Nikos, a former host of a once-popular children’s television show, initially seems controlling and lost in his arrogance. Portraits of himself adorn the walls of his home. His insistence on having only Greek spoken in a household where two-thirds of the occupants are Russian seems selfish, and yet understandable. While he is a man of pride, he also wants to leave a legacy. Late in the film, when he shares his secret room of memorabilia with Misha, Mr. Nikos comes alive and Psykou effectively captures the feel of a bygone time and place. Mr. Nikos becomes as much of a dreamer as Misha.

But the film exists in reality even when the characters don’t. Misha meets Victor, a sixteen-year-old emigre from Russia who immediately takes to the boy. At first Victor seems to be a welcomed friend for a boy whose mother is disengaged and whose stepfather is completely out of step with Misha. Victor takes the boy shopping, to the park and surrounds him with other youths. Unfortunately, Victor also shoplifts, offers lousy advice and engages in a highly disturbingly activity. Psykou presents Victor so matter-of-factly it shocks us when we get the full measure of the character.

Finally, there’s Misha. Wonderful portrayed by Khomut. We feel trapped with the boy thrown into a life he can’t bear, unable to find any external means—language, environment, friendship—to express himself so he turns inward. His actions late in the film, after Mr. Nikos suffers a setback, unnerves as we wonder if fantasy will save or corrupt the boy.

The film will challenge American audiences needing things tied up in a bow and directly spelled out. It’s a delicate balance that Psykou achieves: characters that intrigue us but we can’t say we like them, somber and raw scenes colliding with fantasy, an enticing mixture of Russia and Greek cultures. Her film is a sonic wonder, with animal sounds creeping onto the soundtrack in unexpected, subtle ways. Ands it often seems to be lit naturally, shot simply, harkening back to the Dogme 95 movement. Its deliberate pacing keeps us on edge, waiting for a shoe to drop, seemingly influenced by director Michael Haneke. Its denouement, a fusion of fairytale triumph and Olympic fanfare, is all her own.

The film debuts today at the Tribeca Film Festival.

 

 

| Marvin Brown’s Movie Review Archive