Efthymis Filippou

Yorgos Lanthimos confounded and excited fans with Dogtooth and he returns to theaters this summer with Alps – the story of a group that begins a business where they impersonate the recently deceased in order to help the mourning cope. In this interview with Landon Palmer, Lanthimos discusses toying with identity and death while giving an eye into his filmmaking process (and describing the difficulty in marketing a movie while trying to maintain its mysteriousness). Download Episode #140

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Alps Movie 2012

Yorgos Lanthimos’s Alps, like his previous Academy-Award nominated critical favorite Dogtooth, is a movie that feels like a puzzle. Not an Inception or Lost-style puzzle where answers to mysteries are teased and delivered with thunderous revelation. Alps is a quiet, restrained work of artistry that’s cryptic in its approach to detail, ambiguous in its construction of characters, and deliberately distanced in its psychological, emotional, and visual landscape. Lanthimos and co-screenwriter Efthymis Filippou have once again created a film whose idiosyncratic microcosm is manifested through short scenes that reveal brief and often puzzling bits of information until those bits gradually accumulate into a more full understanding of what the hell is going on. Lanthimos’s films require a significant amount of work from the viewer, and should be credited for it. Alps opens with a striking image of a gymnast (Ariane Labed) performing rhythmic dance to a classical composition who is then verbally abused by her stone-faced coach (Johnny Vekris). We subsequently see a bloodied young woman in an ambulance being cared for by a paramedic (Aris Servetalis) who later informs a nurse (Aggeliki Pappoulia) that this woman is a tennis player whose favorite actor is Jude Law. I’ll save the details of what comes after for you to experience yourself (though many reviews have revealed much more than I will), but we come to find out that this unlikely quartet of characters (whose real names are never revealed) refer to themselves as “Alps” and are engaged in a strange and dangerous […]

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If you haven’t yet seen Greek director Yorgos Lanthimos’ 2009 film Dogtooth, run out and do that as soon as possible. It’s an absolute essential when it comes to the most interesting and experimental examples of storytelling that have come out over the last ten years, and it’s probably one of the most unlikely and effective horror films of all time. Well, check it out if you have a stomach for the horrible and strange…probably you should run far away from this post if you don’t. Still here? That must mean that you’re a fan of the off-putting and mind-effing, or even a supporter of Lanthimos’ work already. Rejoice, for I have some news that you’re going to be happy to hear. While doing an interview with Indiewire to promote his upcoming release, Alps, Lanthimos dropped the huge news that he currently has three possible English-language films currently in development, and though he wasn’t keen on dishing out any details, he did cough up a little teaser about each.

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If you’ve seen the 2009 Greek release Dogtooth, then you know that Efthymis Filippou is a unique storyteller. That film, which details the lives of a family with an interesting take on child rearing, plays like an onion of crazy that makes your brain cry harder every layer of plot you peel away. If you haven’t seen Dogtooth, drop everything you’re doing and go watch that one before you read further here. It’s still streaming on Netflix…just prepare to be disturbed. Now that we’re all on the same page, let’s talk about this new movie, L. It’s a film about a man living in a car that’s set to debut at this year’s Sundance. Okay, to be more specific, it’s a film about a divorced man who lives in a car, whose family lives in another car, and who often has meetings with him in random parking lots. One of those meetings makes up the bulk of this trailer, which kind of plays like a weird microfilm. As you might imagine, this isn’t such a great way to live, even for a professional driver/honey delivery man, so the protagonist is also wrestling with the idea of giving up cars for motorcycles.

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