The writings of Bill Mousoulis
The Raw Material of Greece
Greece’s exciting “new wave” of filmmakers were on show once again
recently at the 46th Karlovy Vary International Film Festival (July
1-9). This festival, in the Czech
Republic, is one of Europe’s largest film festivals, attracting tens of
thousands of viewers and hundreds of media from all over the world.
This year, the festival presented a special “Young Greek Cinema”
section, comprising seven titles, such as the acclaimed Dogtooth and Attenberg,
with a number of the directors in attendance. One standout film for me in this section was Wasted Youth, a sensitive, realistic portrayal of the lives of a
street kid, and a policeman, in parallel stories. Make sure you catch this film at the upcoming
60th Melbourne International Film Festival (July 21-Aug 7).
Apart from this “Young Greek Cinema” section, the Karlovy Vary festival
also presented an wonderful new feature-length
documentary film from Greece, Raw
Material, directed by Christos
Karakepelis, and written by Natasa Segou.
subject matter of Raw Material, its
own “raw material” shall we say, is Athens’ scrap metal “industry”, and the
mainly illegal immigrants who work within it. In the early morning hours, in their rickety trailers and trucks, these
people scour the streets of Athens for any discarded metal: spring beds, TVs,
computers, etc. From there, they take
their day’s findings to the scrap metal yard, where they are given some money. And then other illegal immigrants man the
abysmal furnaces, where shiny new metal slabs are produced, ready for use by
the building industry.
is a powerful film, but in a subtle way. Avoiding a hand-held camera and any other melodramatic devices (music,
or the people fighting with each other), director Christos Karakepelis has
created a very artful, but also very humane, film. The environment is observed with a steady
gaze, and the people’s lives are expressed eloquently, through sensitive
observation and revealing voice-overs. As the film progresses, it gains a bigger and haunting power, as a
“cycle of misery” clearly appears on screen.
asked Karakepelis if the people in the film had any dignity or hope left. “Human dignity, as much as it is tested by
circumstances, is never destroyed. Whoever toils has dignity. Lacking dignity are those who exploit others, and the state that allows
this. I don’t look at the film’s
characters with pity. In the film I
wanted them to speak in their mother tongues, because in an environment which
denies them their identity, they can at least take refuge in their own
language, their own history, their dreams. As for hope, I don’t think it exists for any
of us within this framework of unbridled capitalism, whose economy is a new
there many Greeks who are also scrap metal collectors? “Traditionally, there have always been the
junk dealers, who collect household items dumped on the sidewalks due to the frenzy
and turnover of consumerism. The younger
generation of Greeks disdained this, but today many unemployed Greeks are
searching the streets for iron. But even
this profession is harder now, as there are many collectors, and the waste is
is indeed a bleak picture that the film paints, and Karakepelis has no qualms
about telling it like it is: “Many lower
and middle class people are now becoming proletariat, and experiencing fear,
insecurity and intimidation that normally only immigrants would feel. And this now complicates the situation for
immigrants, who will soon be left with no space for action, and a survival only
in the underworld.”
And Raw Material, at the very least,
creates this human, and philosophical, space.
© Bill Mousoulis July 2011
This report first appeared in Neos Kosmos.