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VENICE FILM FESTIVAL 2013 - Miss Violence, by Alexander Avranas - First look review

VENICE FILM FESTIVAL 2013 - Miss Violence, by Alexander Avranas - First look review

Simone Spoladori (September 3, 2013)

Beautiful and terrifying, Miss Violence, by greek director Alexander Avranas, is the real shock of this film film festival in Venice but is also the best movie of the main competition.


Beautiful, beautiful and terrifying. The real shock of this film film festival in Venice is also - for now - the most beautiful, painful and heartbreaking: "Miss Violence" , the second film of the greek director Alexandros Avranas.

The story opens with a frightening trauma: while a family is celebrating the eleventh birthday of Angeliki, among canapés and balloons, she throwns herself out the window. The reasons becomes clear a little at a time: slowly, with rigor and coldness, Avranas tells the horror behind the apparent normality of a family like many others. Just because the greek director chooses to let us off slowly to the underworld, showing him a bit ' at a time, I do not reveal too many details on what happens. Just to say that "Miss Violence" is certainly not a movie for all kind of spectators , but just for those who are tough!
This nearly unsustainable scenario is portrayed without voyeurism or sadism, but do not expect discounts: Avranas " forced " us to look at this familiar overwhelming  and desaturated hell, bringing the situation to the limit. The dark and apocalyptic pessimism of the film refers inevitably to a political metaphor: social sufferings, the presence of an entity "of control " such as the social services (the thought goes to the EU and european central bank-which examines without understanding the real social needs) remark and underline the  abysmal drama  greek people are experiencing. it seems to be a desperate cry of pain from a nation which is loosing its dignity.
Avranas' stylistic choices are consistent with the devastating story told: desaturated colors, surgical precision camera movement and some sensational, unbelievable "long takes", which take away the rhythm of the film and points out that the drama, the real one, must be  looked through and through, without the "discount" of any sort of editing cut.

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