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  • Josh Harris

Pity (2018)

Viewing Jan '19 ///

Mubi has introduced me to the phenomenon of the ‘Greek weird wave’. I have been a big fan of Yorgos Lanthimos’ work for some time now, The Lobster being my first taste of his deadpan weirdness, but I was unaware that his debut Dogtooth had sparked a handful of directors to follow suit. Whilst not quite as razor sharp as some of Lanthimos’ work, Pity provides us with a darkly funny, social dissection of one man and his addiction to being sad. The restraint of the cinematography to stay static in the majority of the film is something to behold, reserving camera movement for only the most poignant of moments. Whilst the pace is characteristically slow throughout, as with other ‘weird wave’ films, the story lacks an urgency to really propel the viewer into act 3, and I feel that if some of the latter plot points had been exposed earlier into its final act then it might have made for a less predictable climax. In praise of it’s ending, however, the way the story has visually been realised is very memorable. In spite of my criticism, I would still implore you to watch this film, I am deeply intrigued by this wave of filmmaking, and with this effort Babis Makridis has cemented his ability to engross, shock, and realise vividly haunting imagery, that will certainly have me keeping an eye on his future.

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© 2019 Josh Harris

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