This bitter political satire is based on a theatre play, later made to a movie, of which the current film is a remake.It's main focus is the clientelistic character of Greek politics which makes a well-meaning but naive Health minister to employ an ambitious young provincial with a talent for lying in order to handle the diverse demands of his volatile political clientèle.The provincial becomes the mastermind behind every move of the minister causing the envy of the minister's closest associates and of his good-looking wife, played by rising Greek media star Zeta Makrypoulia. Changes of fortune abound and finally the plot reveals that the lying provincial is not a bad person in heart although he never denounces lying as a survival strategy.
Theofilos Ferekis is the new minister of Health and Welfare who has to deal with all the "favours" he promised during the pre election period. As soon as he realizes that he will not easily... . You can read more in Google, Youtube, Wiki
Esteban D (it) wrote: Dolorosa, divertido, amorosa y por supuesto, con una excelente direccin. Muy real la pelcula.
Amy H (fr) wrote: The plot of this story could have been quite good....could have made it into a comedy horror....but it didn't quite get there! Certainly better than most crappy horror i've seen...maybe bcos of the bear!! :P
Zach R (kr) wrote: It's defiantly not a bad movie; it defiantly does not have bad acting; it defiantly needs substance. For me, visiting Ghost Town and then seeing this, I can relate more to it!
Barnaby E (it) wrote: With everyone saying this is a sub-par 'Shakespeare In Love', there is more at work here than first meets the eye (and ear). This is a stange movie; seriously comic, shall we say? Billy Crudrup as the main lead (the much-lauded Kynaston - who is the cream of the crop of male actors playing femaies in English Restoration London - whose story we follow in true tragedy), with his preening ego and fall from grace, is an odd choice, if I'm honest, for the lead, as he just doesn't convince as a female as he's supposed to. Claire Danes, as first his 'dresser' and then his successor, is never very likeable in any of her film roles (after the brilliant 'My So-Called Life' on TV), which creates an odd distance with a character you're supposed to empathise with. However, the supporting cast are excellent, with Ben Chaplin suitably louche and fickle as an in-the-closet Lord, Hugh Bonneville playing less of the bumbling idiot and more of the enthusiastic toff as Samuel Pepys of the Diaries fame, Tom Wilkinson (who gets the best lines or, possibly, who just has the best comic timing) as the owner of the theatre and it's troupe of players is brilliantly sarcastic, and Rupert Everett riffs on his role as the Prince Regent from 'The Madness Of King George' by playing the same posh, likeable, airhead-eccentric in his role as King Charles II, and rounding out the cast (no pun intended) is Richard Griffiths as the villain and theatrical patron of the piece, reprising his role as Uncle Monty from 'Withnail & I' in all but costume! The art direction, set dressing and the locations themselves are brilliantly realised and beautifully done, as are the costumes and the direction. It's just that the film veers between serious and comic and never sets out to be one or the other, or has enough of either to make it an even ride. An interesting period piece, based on real entries from Samuel Pepys diaries, which never quites lives up to the potential.
Steven S (de) wrote: This was a great French film that displays the French culture in both a low light and a high light as it travels throughout the slums of France and into Paris. This is a marvelous film that I would highly recommend to anyone that enjoys a great story accompanied by superb acting from veteran Omar Sharif and the then newcomer Pierre Boulanger.
Sean N (ag) wrote: the best corey haim film of all time irregardless of his disappointing personal life this film is interesting with his slick-ass cool comedic perfromance this is again next to "the big hit" the most underrated action/comedy film of all time!
Ian C (es) wrote: An unbelievable cast in an extremely complex portrayal of a truly dysfunctional family.
Wil R (nl) wrote: Does she find her father? Do they fall in love? Lets just say there are no surprises.
Kevin W (it) wrote: 'In A Year Of Thirteen Moons' was the film that saved Fassbinder's life. At least temporarily. Devastated after the suicide of his lover Armin Meier, who'd appeared in a few of his previous films, Fassbinder threw his energy into this hugely cathartic and personal project. It's been suggested that had he not made the film, it's highly likely he also would have committed suicide, yet Fassbinder was able to positively use his volatile emotional state to create an incredibly moving and sympathetic account of the last days in the life of a character on the edge.The film starts with an extended set of titles on the screen, a prologue so to speak to account for the actions and behaviour of the main protagonist. Every seventh year is a Moon year and those who are strongly influenced by their emotions suffer more intensely from depression during these years. This is also the case in a year with thirteen Moons, where inescapable personal tragedies may occur. This was the case of Elvira, formerly Erwin (Volker Spengler), a woman who recently had a sex change operation in Casablanca, whose torrid romantic life is her downfall. Initially beaten by a man during a cruising incident for not having a penis, she is then mistreated and abandoned by her cruel lover, who offers the parting shots that she's fat and repulsive. Elvira is over-emotional and hysterical, but we realise that this isn't the first incident of the couple splitting up. Their rocky relationship seems to have ended before, but whilst he can walk away, Elvira cannot cope with rejection.The reasons for Elvira's sex change become apparent. It was not for the benefit of her present lover, but for a co-worker at her previous place of work - a slaughterhouse. Fassbinder then reveals an incredibly bloody and brutal scene showing the slaughterhouse in great detail, which requires a strong stomach to endure. Elvira when as Erwin once declared his love for Anton (Gottfried John), who remarked "it's a shame you're not a woman", a throwaway remark which Erwin then took to heart, and hence Erwin became Elvira. Believing than Anton would now want her, Elvira now seeks to find Anton, who is now a powerful businessman on the back of apparently dubious business practices (another indictment of the West German economic miracle?). However, life and love in Fassbinder's universe is cruel and so it must be that Elvira is humilated once more by a man who no longer remembers Erwin from before, and what's more seduces Elvira's prostitute friend more or less in her presence. As fate has determined, this film does not have a happy ending for Elvira, with the cruelty and humiliation of those she loves/loved finally shattering her resolve.Featuring a dynamite lead performance by Volker Spengler (who was the sexually ambiguous son of the housekeeper in 'Chinese Roulette'), Elvira is one of Fassbinder's greatest characters. It's a performance full of compassion and sympathy, and never pity. It transcends the film by some distance, which is often a bit erratic and struggles with certain elements midway through the film, but because of the personal angle and the fact that Fassbinder simply had to make the film for his own sanity, it's still more than worthwhile. It truly is heartbreaking too; not just the emotionally tiring scenes of Elvira rejected by lovers, but also Elvira rejecting her recent femininity after Anton humilates her - she cuts her hair and wears a man's suit to reclaim her former masculinity, as if she's asserting that life was better or less difficult as a man. The sole reason for her changing her gender doesn't want to know after all. There's also a taped monologue which overlaps scenes in which her body is found, improvised by Spengler, which are just devastating. Typically for Fassbinder, he reveals love to be nothing more self-deception and a tool for others to manipulate. Whilst it's a theme much used by him previously, it never feels like repetition.
Ryan C (ru) wrote: It's an exciting movie that builds all the way to the final drum-off and it's some of the catchiest music you'll tap your feet to.
Matt G (de) wrote: Mixes super dry with super broad humor brilliantly. Rewards people who watch lots of movies with jokes that actively work against what we've come to expect (walking off dock, lining up against wall). A veritable cavalcade of, "Hey! It's that guy / gal!" But mostly...it's funny. Real, real funny. Watch it. Heck, watch it twice. Or don't. What do I care if you don't wanna laugh? No skin off my sunscreened nose.
Justin R (kr) wrote: An enjoyable effort, but at the same time, it's devastatingly cliche.