I returned two days ago from 10 days at the Thessaloniki International Film Festival where I watched and reviewed 20 movies. Three were Greek films about making a movie about a movie. They weren’t comedies as “All You Need is Blood” which is a movie about making a movie about making a movie.
Bucky (Logan Riley Bruner) is a teen aspiring movie director with a passion for directing films but lacks the equipment and the requisite technical skills. He strives for a big break when a local film festival has as its theme horror films with a $2,000 cash prize and an apprenticeship with famed horror director Hans Von Franz.
As fortune would have it a meteor lands in his backyard and his father Walter (Tom O’Keefe) touches it, some goo enters his body and he is transformed into a zombie. Well the number of zombies just keeps on growing and Bucky’s cast for his zombie drama film “All You Need is Blood” becomes very authentic and as a zombie feels no pain you can slice and dice them with limbs and blood spurting about like fountains. Very authentic!
We encounter a zany bunch of characters. June (Emma Chase) a stage fright afflicted teen actress, Vivian Vance (Mena Suvari) a cocaine snorting horrifically bad actor, smooth talking Moes Swan (Eddie Griffin) an evangelical sheriff and an assorted and delightfully odd collection of characters.
The movie would appeal to a juvenile audience as it is comedic at a less than adult level. The music is 1963 cheesy. The romance between Bucky and June innocent and the blood and gore is completely unbelievable although many might find it a hoot.
A stellar performance from Griffin particularly his description of hell.
Shall we call the film harmless and fluffy fun with perhaps a satirical steak about horror films in general which might have more of an adult attraction.
Thessaloniki is in Northern Greece and is its second largest city.
Thessaloniki’s Segundo Molo Suites is not a traditional hotel so do not expect a lobby, front desk staff or most hotel amenities. You are largely on your own here.
Your modern bathroom at Segundo Molo Suites
You may be daunted by its entrance or rather lack of entrance. Once you arrive at 19 Mitropoleos Street, the address of Segundo Molo Suites, you will have to walk down a path referred to by staff as “an arcade” that connects Mitropoleos Street to Tsimiski Street both the main streets of downtown Thessaloniki. In the evening it is not particularly well lit. There is a watchmaker, a clothes alteration shop in this arcade and a rather marginal looking snack bar but heavy foot traffic on both Mitropoleos and Tsimiski Street for most of the day and night should give you some comfort you won’t be mugged.
The “Arcade”
The front door leads you to a dingy and somewhat dilapidated “lobby”. A code is required to enter the building and will have to walk up a flight of stairs to access a raunchy elevator on your right. Classic Euro elevator unlike what you might expect in North America. Exit the elevator and you’ll need another code to enter the 7th floor the home of the Segundo Molo Suites a very much more upgraded feel than what you’ve just experienced. Shiny black marble floors giving a more standard hotel feel. You will require a code to enter your room or rather obtain the keys that will enable entry. There is a mini lock box you will have to manually set the code to open the box where the keys are placed. The coding device on the door is not functional so do not enter your code there. All codes will be provided to you before you arrive.
The rooms are comfortable and newly renovated but it but calling them a” suite” may be an exaggeration. The Deluxe Suites have back views and the Superior Suites have a view of Mitropoleos Street
The bed is a queen with two just right pillows. Comfortable yes.
The bathroom is modern with an enclosed shower. There is shampoo/conditioner, shower gel and hand soap. Extra toilet paper can be found in the bathroom drawers as well as dental kit, vanity kit and sewing kit and a hair dryer. In my shower enclosure gentle dripping could be heard from the shower head when the shower was being used in the floor overhead. Twenty minutes prior to your shower you must turn on the “Twenty Switch” in the fuse box by the front door. Turn it off prior to taking your shower. I think you’ll have the hottest water in Europe!
There is a minimally equipped kitchen with both a refrigerator, stovetop and oven. A rather temperamental stove top and difficult to figure out how it works! The freezer was dripping a bit of water down the rear refrigerator wall. The refrigerator was clean but the freezer could stand a defrost. Glassware was sufficient although only a single pot, a strainer and only one bowl and a plate in a suite that is for two. No condiments including salt and pepper. There was nothing that one could broil or roast with. Flatware was minimal but adequate and included a corkscrew.
The work area was comfortable, but a lack of proper overhead lighting made evening work a strain on your eyes.
There is a 55-inch Hitachi Smart television with cable television access and several music channels.
The room will be cleaned every two days with clean towels provided.
The manager Yota is usually present daily in the late morning while staff clean the rooms.
A full grocery store Matsoutis (47 Tsimiski) is a 5-minute walk to your right as you take the pathway up to Tsimiski Street. It is bit hidden in the entrance to Aegean College. Just a few steps away to the left as you exit the pathway to Mitropoleos Street is a 24-hour decently stocked convenience store.
Great coffee and snacks at Grigory’s right across on Mitropoleos Street.
Costas and Sofia at Grigory’s!
As for location to most of Thessaloniki’s sites you couldn’t be much better!
The price was $115 CDN per night on the weekday and $139 on the weekends.
If on business as I was I would stay there again but ask for a work desk lamp.
On my second flight to Toronto from Thessaloniki on KLM to JFK Airport in New York I had to listen to that gurgling cough, pulling up snots in the nose and sneezing from two nearby passengers the whole flight. The selfish prigs (a polite term) were not wearing a mask and they hacked, gurgled and pull up snots for eight hours. Let’s get considerate people. Do I want your microbes spewing all over me? What is perhaps more distressing is that these turkeys (in their late twenties) probably enjoy their Freedom Convoy “Ottawa Style” liberty to cough with pride by not wearing a mask. Maybe with a little luck and the COVID and flu jab I had I week before my trip started, I will live to see another day…you selfish prigs!
Rest assured “Stockholm Bloodbath” offers the viewer exactly what the title suggests. Hangings, beheadings, burning at the stake, deadly cannonballs, torn limbs and arrows wreaking havoc on the human body and all manner of ghastly terminations of lives.
In 1532 Danish King Kristian II (Claes Bang) launches yet another campaign against the head of state of Sweden, Sten Sture. Kristian wishes to reunify with Sweden and become the king of both countries.
Kristian is ruthless but his henchman Didrik Slayheck (Mikkel Boe Følsgaard) is one of the vilest butchers you may have viewed on the screen in some time.
The Danes slaughter a village witnessed by the silent Freya (Alba August) as her family, including children perish in a gruesome manner. Freya is like Peter Finch in “Network” as she is mad as hell and is not going to take it anymore. She has a list and it is not who has been naughty and nice like Santa. It is revenge time and she is determined to eliminate specific Danes on that list and you are rooting for this girl quirky looking in a way but a superb archer and fighter. Don’t tangle with Freya.
The Danes dictate a deal with the Swedes promising them countless protections but can you believe these villainous cast of evil Danish characters?
I have a tad of difficulty giving a genre to the film. Can I invent a new genre of a comedic politico-historical-farce? Given the modern language used it certainly can’t be taken as a serious historical film but it does effectively impart some serious moments. At times it presents elements of a satire of 1960 Hollywood blockbuster like “Cleopatra” then it veers into comedy illustrating the manipulative aspect of religion and somewhat savage nature of religion when aligned with political goals. There are spies, traitors, double dealing politics, political cynicism, epic battle scenes and impressive costuming.
Not to be taken seriously and somewhat in the vein of the recent Finnish film “Sisu” of brutality, gore much of driven by revenge. If you enjoy watching violence that simply can’t be taken seriously and a revenge theme this is your film!
Ten days in Thessaloniki, Greece attending the 65th Annual Thessaloniki Film Festival had me beat watching and reviewing two movies daily. Attending opening ceremonies and press conferences and yes experiencing an earthquake tremor and even cooking up almost all my meals with the most basic ingredients. What was my masterpiece? Norwegian salmon filets gently poached in Krinos Basilicata jarred tomato sauce with a cup of frozen peas tossed into the mix. Served over pasta of course topped with slices of Greek goat cheese starting with Greek cucumber slices as an appetizer.
My booking for both my to and from Thessaloniki trip was purchased through KLM.
Thirty hours prior to my return trip to Toronto I received an e-mail from KLM advising me I could now check in so I clicked the check in bar and I received a response we can’t check you in and check in with our partners’ online check in. The partner in this case was Transavia which I managed to ascertain but one might think I should have been advised who this “partner” was and perhaps even be provided with a link to their check in process. I attempted to book on-line with my KLM provided booking code with Transavia for my return trip to Toronto and the response was the booking code was not recognized. Very strange as Transavia is a low budget subsidiary of KLM. Is there no integration of their systems?
So, I contact KLM through FB Messenger and several hours later I receive a message from KLM providing me with a code the Transavia online booking mechanism would recognize and permit me to check in. You see I am a very tall man with long legs and pre airport check in gives me the possible opportunity to secure an aisle seat to avoid crippling me with cramped knee and twisted body syndrome. Well, the KLM provided booking code was not recognized by Transavia online check in. An earlier KLM FB Messenger note I referred to above stated if that was the case I would have to check in at the airport. At Transavia check in at the Thessaloniki Airport sorry tall boy no aisle seat and you will be crammed in a window seat. Oh, the horror if not panic!
The development of a mobility disease in progress.
I noted my baggage sticker stated my bag was to go to YYZ (Toronto) and I was reassured of the same by the Transavia passenger agent in Thessaloniki saying my baggage would be picked up in Toronto at the baggage carrousel after my third and last flight from JFK (New York) to Toronto on Delta Airlines.
I suffered through the Transavia flight (KL2562) from Thessaloniki to Amsterdam enjoying the lime green colors of the seats (which I sat in twisted like a pretzel) like they were from a Fellini film. Yes, being a KLM Premium Comfort passenger there should have been priority boarding, priority through security lines but no such luck with Transavia.
Upon landing in Schiphol, one must pass through Dutch immigration where I was probably 100th in line with 8 or so immigration officer kiosks with only two officers on duty. The line quickly spread to at least 500 passengers many freaking out about missing their connecting flight. Tell me more please about Dutch efficiency!
I finally cleared immigration but the self serve boarding pass machines did not recognize my Canadian passport. Off to the KLM transfer desk where a system failure prevented them from printing off my boarding pass but by hook and by crook they managed to print me off my boarding pass for my flight to JFK and my flight from JFK to Toronto. Very good transfer agent for KLM!
Now after spending 4 hours wandering around Schiphol Airport dog tired and somewhat stressed it was time to board my Toronto flight on KLM. As a KLM Comfort Class passenger I am entitled to priority boarding after the big wigs in Business Class but was called to board with the regular Economy Class Passengers. Good work KLM. Oh yes there are air conditioning problems which delayed takeoff. The less time you sit in airplane seats the better.
Eight hours of sheer boredom and food that sounded elegant but was mush with a fancy name. And the pre-landing snack sounded great as a chicken Caesar salad which was more mush. Poor quality white and red still wines and my Scotch was a Johnny Walker Red. Even Air Canada provides Johnny Walker Black label in its Basic Economy.
We arrive at JFK and yet another delay as the captain states we must wait for a space for deplaning. What a BPH nightmare!
The KLM flight attendant made an announcement all connecting passengers with connecting flights would have to collect their baggage and pass-through U.S. Customs and Immigration! What? I was told by Transavia when checking in with them in Thessaloniki my baggage would sail through straight to Toronto! There was no baggage of mine to pick up upon arrival at JFK! A helpful Delta airlines employee at JFK went on her computer and gave me a very scrunched up look and stated my baggage was in Amsterdam! Being a Canadian I zipped through U.S. Customs and Immigration bagless and grossly irritated. But wait…had to check in through TSA security to arrive at my gate!
JFK Airport is under a 5-year renovation project and is in shambles. Unlike most airports departure screens were almost non-existent so I located a Delta Airlines desk and they advised as to the departure gate and that a shuttle bus was advised to get to the gate. A shuttle bus!
At the gate the passenger agent for Delta said it appeared as if my bag was on the flight but checking with her colleague, she advised most likely it was in Amsterdam but was uncertain.
The flight to Toronto was uneventful and in a vain hope or collecting my miserable Samsonite bag I waited unsuccessfully at the baggage carousel. A fantastic Delta “lost luggage lady” tracked the bag to Amsterdam stating this is the fifth time in recent history she has seen lost bags from a Transavia flight originating in Thessaloniki. She said it should be couriered to you the following day.
After being up for 26 hours I collapse in an Uber and head home. The Uber folks had sent me a note saying sorry but there will be a delay as we are unexpectedly busy. What more could go awry?
Lessons learnt. Avoid connecting flights if you can. Avoid connecting at JFK or at any U.S. airport landing from an international flight. If you have long legs avoid Basic Economy unless you want to roll around in a wheelchair upon arrival because of the rapid onset of cramped knee and twisted body syndrome. Take the bus or train. They are more civilized than flying sardine cans.
Who to blame? I am not willing to hire forensic experts to answer that question and take solace in a 1970’s hippistic “Blame the System Man.”
P.S. My baggage arrived at 21:32 the next day on Air France.
I suppose an “assemblage” would be considered as a blend but it sounds a bit more “exotic” than a blend, right? Or why not another French sounding name like a “Meritage” as you might like the possibility it has merit to it. Names, names, names but what is the quality in the bottle?
Strange that the wine is not described on their website at the time of this review.
A bit of a dog’s breakfast blend of Cabernet Franc, Cabernet Sauvignon, Sauvignon Blanc, Viognier, Semillon, Syrah and Sangiovese.
It is described sort of high and mighty on the label as, “A red and white assemblage that celebrates Stratus’ belief in the future of a tradition…red, redefined, bright, modern and elegant.” Sing it to me sister! Sounds a bit like a Peter P. Conservative Party slogan!
Aroma: A bit smoky with black cherry ruling the roost.
Palate: Just about moderate with its tannins. A solid wine. I don’t think “full bodied” is the correct term. It is quite tight but the black cherry shines right through. Short finish.
Personality: I am a mixie with diverse parentage but if you can pick up Cabernet Franc, Merlot and Sangiovese you’ve nailed my soul.
Food Match: Chilled just a bit would suit that famous AJ Chile a man that crafts chili with a secret assemblage that varies with each batch creating consistent excellence with a dash of unpredictability. A man that is not haunted or imprisoned by the excellence of the “last batch”.
Jazz Match: Samara Joy’s “Sweet Pumpkin”. “Pumpkin” was a nickname (amongst at least 50 others) for my dear departed Westie, Dylan, who loved Thanksgiving and Halloween!
Cellarbility: I would grant this a papal dispensation and bless it into 2027.
In a 2024 Greek film director Stratoula Theodoratou delves into moral and political corruption in Greek society. Corruption respects no boundaries, and it may be those attempting to expose corruption are equally corrupt as those they strive to expose.
Anna, an Athenian photojournalist, when escaping from a violent demonstration, encounters severely demented Lambros eating a slice of pizza from a trash dumpster. She accompanies him to a police station where he is picked by his son Pavlos and his wife Doretta. Lambros grabs Anna by her arm and refuses to let go even when reaching his son and wife’s fashionable Kolonaki flat. Doretta returns to work leaving Anna and Pavlos to await the arrival of a newly hired “Bulgarian” caregiver the replacement for the departed “Georgian”.
As Athens descends into chaos with massive violent riots and civil disorder, we learn Anna and Pavlos were former lovers and throughout the film they attack and counterattack each other over their past relationships and where each headed after they parted their ways. It’s a nasty interpersonal battle punctuated by a sexual encounter and physical violence.
Anna raises details as to the corruption of Pavlos and his political cronies where murder, arson and intimidation are the name of the game. Anna initially portrayed as a clean whistleblower may be no more different than Pavlos.
The message is that corruption runs deep in Greek political, bureaucratic and private sector all animals in the fauna of corruption.
Enormously intense examination of where corruption begins and ends. Is there good and bad corruption. Food for thought. A frightening glimpse at dementia.
Eighteen-year-old Lilja visits grandmother Áóra and grandfather Grimur to be proximate to an audition for an international performance group unable to contact her father Magnus about her stay. How sweet, a stay with granny and grandpa!
Kalli, the son of Granny and Grandpa, is bedridden in their home seriously ill. Their daughter Val owner of an apothecary and an alcoholic often tipples from a flask. She distrusts her mother that sweet granny
Granny is a bit strange forcing Lilja to pray before an icon and a strange soapstone carving. She is an icy woman with a stern and menacing streak.
Lilja’s family members particularly Val and Magnús her father are adamant Lilja not remain in Granny and Grandpa’s home. Your curiosity will augment about why. The tension will slowly develop and through some veiled clues your curiosity may intensify to sheer terror for a horrific double twisted ending as your reward.
Yes, a thinking audience member who pays close attention to the film will be well rewarded. A thinking person’s horror movie. Elin Petersdottir as Áóra exudes Nordic viciousness and commands the screen with Stefanía Bernsden the tortured keeper of a family secret. Is Kalli a victim in progress with one glaring weakness in the film’s conclusion being it made no sense that David ran.
As they say here in Greece, Fonissa.
By the way natatorium is a building where there is a swimming pool.
In 1775 one of the strongest earthquakes in recorded history measuring 8.5-9 on the Richter scale devastated Lisbon. Its centre was in the ocean some 325 kilometres off the coast of the island of Madeira. A tsunami followed. Seismologists predict another similar powerful earthquake in Portugal and the sole question is when. Consider its power at 32,000 Hiroshima atomic bombs exploding simultaneously on the ocean floor.
While here in Thessaloniki, Greece I experienced the aftershocks of a 5.2 earthquake so I may have had a keen interest in this film. Pardon me.
We follow a team of Portuguese scientists all experts in earthquakes as they track alarming data suggesting certain oceanic disturbances are increasing in intensity. Is it a result of a series of malfunctioning sensors that require repair? The Secretary of State of Portugal is briefed by the team informing him a repair bill of 900,000 Euros which will just have to wait until next year when the next state budget is prepared.
The data becomes more ominous to the point a massive earthquake is predicted by the team to strike Lisbon and the Algarve. The team struggles as to the next step. With 30 hours to go do they inform the politicos and threaten mass panic and chaos let alone destroying their careers?
Scientific ethics and political realities interplay.
Imagine a city facing impending devastation with so little time to evacuate.
Perhaps too much Tekkie discussion on the screen but it adds credibility to the plot. The family situation of a leading member of the team Marta (Sara Barros Leitão) is entirely irrelevant and thankfully brief but it should not prevent you from an increasing grip on your chair where I was sitting when the aftershock hit.
A gripping mostly in room drama. It took me a couple of minutes to walk a straight line without holding the wall after the aftershock.
“Giannis in the Cities” is a wounding and penetrating journey into “Childcare Cities” established during the Greek Civil War as told through a “survivor” author Yannis Atzakas. There are haunting similarities to the establishment of “residential schools” in Canada amounting to little more than kidnapping of Aboriginal children for purposes of assimilation into colonial correctness “managed” by the Canadian government and the Catholic and Protestant churches. Canada is currently experiencing a period of “truth and reconciliation” and settlement of legal suits filed by survivors.
In 1949 Giannis, the son of a Communist rebel fighter, is “accepted” (deported) by nationalist officials and placed into a series of Childcare Centres simply attributable to his father being a “rebel fighter”.
Supported by the Greek Orthodox church and American Greeks these “ragged and starved children” are “rescued” by the National Army and taken to a “safe haven where affection and care will bring back joy, health and spontaneous laughter”. These kidnapped children are being saved from “kidnapping” by the Communists who will convert them into their janissaries.
The children live in sparse dormitories, are regularly beaten and mercilessly propagandized. Unlike Canadian residential schools there is no mention of sexual abuse.
Perhaps the most telling scene is a visit by Queen Frederica of Hannover to the Childcare Centre Giannis is billeted to. One older boy states he resents kissing German ass and is mercilessly beaten as after all she is the sweet mother and queen.
The adults running the “system” are the beacon of its brutality and over a period of years only one kind “team leader” is encountered by Giannis. There is no liquidation of the children detainees other than the sanitization of their minds inclusive of humiliating their parents and hence their own self worth.
As you understand the direction of the film I will spare you from further painful details.
Giannis’ father presumed dead or missing is located in Varna, Bulgaria and Greek authorities force Giannis to decide whether he is the son of a guerilla or a child of the queen. You take it from here but I will leave you with the words of the author when he writes; “Such is the bottomless well of memory. Whenever you get caught up with some mental quest and you throw down the long rope a whole armful is drawn up from the depths and you don’t know what to do with it and you let it fall back into the dark water.”
The film deserves an international release. It is one of the most impactful films I have seen in years. A standing ovation for director Eleni Alexandrakis. Watch for it as Greece’s selection as best international film at the next Academy Awards.
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