DVD Review: MISS VIOLENCE

PrintE-mail Written by Martyn Conterio

Miss Violence Review

REVIEW: MISS VIOLENCE / CERT: 18 / DIRECTOR: ALEXANDROS AVRANAS / SCREENPLAY: ALEXANDROS AVRANAS, KOSTAS PEROULIS / STARRING: KOSTAS ANTALOPOULOS, CONSTANTINOS ATHANASIADES / RELEASE DATE: JULY 7TH

Ever since Yorgos Lanthimos’ Dogtooth wowed audiences back in 2009, Greek cinema has become the new Michael Haneke. Although Lanthimos and others have weaved into the fabric of their sometimes controversial work a certain absurdist humour, the award-winning second feature by Alexandros Avranas, Miss Violence, paints it black and black only.

Angeliki (Chloe Bolota), on her 11th birthday, jumps out of an open window. She is smiling as she does so. The family appear sad and upset for five minutes and then carry on as if nothing untoward has happened. No questions are asked and no soul-searching undertaken. It’s like the poor girl has been erased from memory. But why?

For a long time, and the film’s pace is pitched at glacial, Avranas feeds the viewer crumbs of information about the dynamics at work within the family unit. From the very first scene, even before the shocking act of Angeliki’s suicide, there’s something not quite right. Could it be the Leonard Cohen song, “Dance Me To The End Of Love”, playing on the stereo system or the bland colour scheme of the home interior and costume design?

Miss Violence is an experimental mixture of thriller narrative (removed of all genre thrills), a horror movie and a detective story, complete with a series of revelations so astoundingly grim that the overall reaction, as the film draws to a close, is one of absolute devastation.

The head of the family, superbly played by Themis Panou, is a tyrant. He rules his small fiefdom like the most skilled politician. When not taking part-time employment as an accountant, he is busy overseeing every aspect of life at home. The film’s subtext can be easily enough aligned to the modern state of Greece’s troubled politics, but it casts its net even further afield to dissect the overall relationship between individual and state and the capitalist narcotic that is materialism. The family unit serves as a microcosm.

The father gives with one hand and takes with the other. He inspires conformity through fear and rewards and manipulates with promises. He abuses the most sacred trust under the assumption that nobody will stand up against him. The final twenty minutes is a descent into the darkest hell with a denouement of soul-crushing proportions.

If you look beyond the film’s ability to offend quite possibly every sensibility you hold dear, there’s much to think about and take from it. Nevertheless, Miss Violence is a despairing picture and a tough viewing experience.

Extras: None



Suggested Articles:
Farren Blackburn has a genre history as long as your arm – he’s directed episodes of Daredevil,
Lou (Lyonne) is a self-destructively hard partying trailer dweller who, when not occasionally workin
In which J.K. Rowling abandons prose in order to take full control of the cinematic Potter-verse, Fa
Released in the aftermath of British Film Year 1985 and one of three films produced by the Goldcrest
scroll back to top

Add comment

Security code
Refresh

Other articles in DVD / Blu-ray Reviews

SHUT IN 27 March 2017

ANTIBIRTH 26 March 2017

FANTASTIC BEASTS AND WHERE TO FIND THEM 26 March 2017

THE MISSION 26 March 2017

SEOUL STATION 25 March 2017

EXCALIBUR 25 March 2017

SHERLOCK HOLMES: THE COMPLETE COLLECTION 22 March 2017

THE STORY OF SIN 20 March 2017

ALICE DOESN’T LIVE HERE ANYMORE 20 March 2017

THE CHAMBER 20 March 2017

- Entire Category -

Sign up today!
Banner
Banner
Banner
Banner
Banner
Banner
Banner
Banner