“Simply put, we feel the fictive in reality and the reality of fiction simultaneously in Angelopoulos’s work, with this ‘tag’ note: while Angelopoulos often refers to Brecht and the need for an audience to think as well as feel in theater and cinema, we do not experience anything close to what co
“More than Reconstruction, Angelopoulos’s direct indictment of the Junta came in 1972 with his film Days of ’36 [Meres tou ’36].
Greece, 1939-1952: Fascist, Nazi, and Communist conflict, as seen through the eyes of a family of travelling provincial players.
“The Hunters reflects how a man of my generation sees Greek history, a history whose continuation blends with the years of my own life. It is a study of the historical conscience of the Greek bourgeoisie. In Greece, the ruling class is afraid of history and, for this reason, hides it.
“Through his lens, Angelopoulos looks at things in silence. It is the weight of this silence and the intensity of the immobile stare of Angelopoulos’ camera which makes O Megalexandros so powerful that the viewer cannot break away from the screen.
The film portrays the journey of two children in search of their father, whom they believe lives in Germany. On the way they meet many people, including a troupe of actors (a reference to Angelopoulos' early movie The Travelling Players), and encounter dangers.