There is always something disconcerting about a documentary, when it seeks to state a point of view, an opinion, beyond what it intends to portray. Because we are probably waiting for a journalistic piece, supposedly unbiased and objective. Because we are probably waiting to be able to judge by ourselves.
In 'Leaving Greece', it may be its greatest weakness. But also its greatest virtue. Because even though it is based on a conviction and militancy against Europe's contradictory policy towards refugees, Anna Brass tries to demonstrate it with a 'case study', as a hypothesis that guides a learning path. And that's the key with she addresses a particular situation. Of the refugees in Greece, in this case of three Afghans, who are desperate to reach the other 'Europe', desperate for crossing an invisible wall that, after all, separates Greek territory from the rest of the European fortress.
And with this she builds a thesis: 'they'll probably accuse us of stealing electricity, even though all we have are candles...', as one teenager says, one of the group that Anna Brass's camera follows
From this point, it is up to each one to judge. And critically think. On the conveniences and inconveniences of a phenomenon that is shaking the principles and humanistic values of the so-called solidary Europe.
This means that the apparent naivety of 'Leaving Greece', in the way it points the problem, is just a subterfuge of pudor. And of stupefaction. From the filmmaker who finds a reality she didn't know, from the filmmaker who thought that Greece and Europe could be the point of arrival and not an enclave or a prison, a space of segregation and many contradictions.
That's why 'Leaving Greece' should be taken seriously. But not only. Because as an audiovisual work it also shows an excellent technical mastery of cinematic language with the constant search for an aesthetic sense for a dimension where aesthetics does not seem to make sense.
It is hard not to be impressed by the final result: a disturbing documentary, original by the approach; inspiring, by the pudor with which it is led; and effective in what it proposes, as an effort of civic militancy.
Victor Eustaquio/Cult Critic/CICFF
In 'Leaving Greece', it may be its greatest weakness. But also its greatest virtue. Because even though it is based on a conviction and militancy against Europe's contradictory policy towards refugees, Anna Brass tries to demonstrate it with a 'case study', as a hypothesis that guides a learning path. And that's the key with she addresses a particular situation. Of the refugees in Greece, in this case of three Afghans, who are desperate to reach the other 'Europe', desperate for crossing an invisible wall that, after all, separates Greek territory from the rest of the European fortress.
And with this she builds a thesis: 'they'll probably accuse us of stealing electricity, even though all we have are candles...', as one teenager says, one of the group that Anna Brass's camera follows
From this point, it is up to each one to judge. And critically think. On the conveniences and inconveniences of a phenomenon that is shaking the principles and humanistic values of the so-called solidary Europe.
This means that the apparent naivety of 'Leaving Greece', in the way it points the problem, is just a subterfuge of pudor. And of stupefaction. From the filmmaker who finds a reality she didn't know, from the filmmaker who thought that Greece and Europe could be the point of arrival and not an enclave or a prison, a space of segregation and many contradictions.
That's why 'Leaving Greece' should be taken seriously. But not only. Because as an audiovisual work it also shows an excellent technical mastery of cinematic language with the constant search for an aesthetic sense for a dimension where aesthetics does not seem to make sense.
It is hard not to be impressed by the final result: a disturbing documentary, original by the approach; inspiring, by the pudor with which it is led; and effective in what it proposes, as an effort of civic militancy.
Victor Eustaquio/Cult Critic/CICFF
