Landscape in the Mist (1988)

To me, this is one of the greatest movies of all time. Art and a very touching and interesting story combine each other and create this masterpiece with some unforgettable scenes, images and a mesmerizing cinematography. At the beginning, we do not see the mother of the little sisters, only hear her voice. While watching this scene, I thought that it is to make us feel that the sisters are lonely, nobody cares about them, nobody worries about them. In another scene, the sisters visit a man who is probably one of their relatives. However, he looks disturbed when he sees them. The Petrifying truck scene is a story itself. This scene is horrible in terms of content, but enchanting in terms of cinema. And sharp realism. If there is a flaw in the movie, it is the final. It was obscure and not stunning as the rest of the movie. I mean the scene takes place at night. It could have been a bit different, less obscure. Instead of commenting the end of the movie, some say that it is one of the finals that everyone draws their own conclusion, but for such a content or story, it does not seem a good idea. By the way, always, especially critics say this is a story of getting conscious or growing in wisdom, if a movie is about a little girl or boy. Well, this is not actually, the movie is much more than that and much more different. And as you guess, no cliché. The older sister is conscious anyway. She is aware of everything like an adult, even if she sometimes falls. The both sisters are very courageous and at the same time naive. I wanted to help them in the times they need. However, the weather is cold, desolate ways. Unsafe and risky. The vehicles pass them carelessly and don't stop. Probably the best Angelopoulos movie.

Fmovies: A journey is often the best way to find yourself, even if you are looking for something else. Greek director Theo Angelopoulos' film traces two runaway children – 11-year-old Voula (Tania Palaiologou) and her five- year-old brother Alexandros (Michalis Zeke) – as they search for a fictive father their mother made up stories about. On the road, they learn the realities of life – cruelty, violence and the crude struggle for survival, but also friendship and the first stirrings of romance. In a particularly startling scene, joy and sorrow are revealed simultaneously as a horse dies before their eyes, even as a marriage is mirthfully celebrated nearby. In another, the hand of a statue pulled out of the water could symbolise fragmentation, among several other things. In the end, the quest is hopeless. It's a desperate search for value, for meaning, for that indistinct dream you cling on to which gives life a sense of purpose.

Landscape in the Mist is the tale of two Greek siblings (a girl and a boy) who one day decide to travel to Germany to search for his unknown father. Fifteen minutes into the film we learn that the father in question, doesn't real exist. In fact, we also learn from the children' uncle (her mother's brother) that it all has been a lie as the children are the result of different love affairs. In most conventional movies, this early discovery would ruin the plot, hence the rest of film, but here it becomes the turning point into the children' odyssey since it fuels up their desire to meet his father. From that towards, the film shows us thew siblings mixed up in the raw atmosphere of the adult world, surrounded by bleach landscapes and a misty never-ending who serves at the only witness for the children descend into adulthood. There, in the battlefield of an unknown world, our main characters encounter many challenges, but they all together manage the constant menace of a number of difficult situations, thanks in a part by a good natured youngster named Oreste. However, he is not always present for the children (due to their constant moving) and at the end, one has the feeling that after all, they are alone to face their fate; which in my opinion reflects the paradox of a new born child.

Landscape in the Mist is a piece of art, a masterpiece so well crafted that makes think about it even if you haven't watch it in years. It so powerful and yet so sad, like a misty sky in a rainy day. HIGHLY RECOMMENDABLE. IT WILL CHANGE YOUR LIFE

Landscape in the Mist fmovies. Seen the movie in HK International Film Festival over 16 years ago and still could not stop crying whenever I think of the kids in the movie. Be prepare for a sad story. Yet, the whole movie was filmed so artistically and many scenes are so creative (esp. at the age of the production.) This is the only movie still linger in my brain from time to time. Still miss the kids in the movie and wish to be there to get them out of the difficult situations. It is the power of the movie, the power of the director/writer, the little actress and actor. No more description can replace the movie itself. To fill up lines - being a mom of 2 now after the years, I miss the kids in the movie even more.

Every once in a while a great film comes along which seems to transcend the medium, to give one faith in the movies, even hope that everything on this planet is not futile. LANDSCAPE IN THE MIST is such a film. It has garnered a great deal of critical acclaim wherever it has been shown and a top prize at the 1988 Venice Film Festival. LANDSCAPE IN THE MIST is the story of two Greek children, 11-year-old Voula and her 5-year-old brother Alexander, who wander across the start Greek winter landscape as they attempt to make their way, by train and by other means, to Germany. It is almost a mythic quest to find their father, who in reality does not even exist. Around this delicate framework, Angelopoulos has fashioned a work of soaring lyricism, a film of magniloquent majesty, a haunting poem that moves us to the depth of our souls. As with the work of some other great directors like Bergman, Kurosawa, Rossellini, Bresson and Antonioni, Angelopoulos' films require an especially intense effort on the part of the audience not often required or inclined to give itself so fully to a movie that even the consumption of popcorn seems an obscenity. Credit has to be given also to the photography of Giorgos Arvanitis and the impassioned musical backdrop of Eleni Karaindrou who would receive such acclaim for her score for Angelopoulos' subsequent ULYSSES' GAZE. Tonino Guerra, one of Fellini's constant scriptwriters, collaborated on the script.

A quest for an unknown father becomes an odyssey into adulthood for two illegitimate Greek children, traveling alone the length of their country in a hopeless attempt to trace the whereabouts of a man they know only from the bedside fairy tales told by their mother. The journey is often grim and brutal, but is also filled by occasional magic, transforming their search into a sometimes sweet, sometimes bitter reflection of childhood mysteries and adolescent pain.

The reticent screenplay and slow, deliberate rhythms will likely be tedious to anyone with a TV-damaged attention span, but the same understated detachment can sometimes have a devastating impact, for example during a rape scene made all the more chilling for taking place just out of view, and in total silence. Discriminating viewers able to avoid nodding off into their popcorn will find it a film of rare beauty, with an emotional resonance to match the often haunting imagery.