…I insist to believe that in a world that has turned upside down, the art world is the only thing that can be host to the ‘crack’… When you realize that the agendas, the flattery, the immodesty, thrive more than in a banking organisation, you …
Short Movie Club tries to pay attention to any background of the submitted film. We aim to elaborate communication, networking between filmmakers, cinemalovers and the audience. The festival will be superlative in culminating days but we are moving to the high point the whole year. Short Movie Club provides a long-term study of the filmmaking inner life. We use our ShortsArt Hubble to study remote universes. To connect. To release from aloneness. To divorce desperation. Thank you all for the participation!
Kirineos Papadimatos was born in Athens in 1967. He graduated from the Hellenic Cinema and Television School “Stavrakos” in 1990 with a degree in Film Directing. Since then he has been working as a director and film editor for cinema and television. He has also directed music videos.
• 1991: “The sun was too hot”, based on a novel of A. Samarakis, 35mm, 20 min.
• 2006: “Where to?”, 35mm, 11 min.
• 2008: “Lilly”, 5 min.
• 2010: “Be a useful man when you grow up”, fiction, 10 min.
• 2015: “Paolo’s dream”, DOC, 43 min.
The film, the trailer and a press-kit couldn’t go unnoticed that we found on Filmfreeway. So we pointed our Hubble at Kirineos Papadimatos galaxy in the constellation MANIERA GRECA. We got wonderful snapshots in three projections.
PROJECTION # 1 «THE FILMMAKING THAT SATISFIES»
(Kirineos) — First of all, thank you for your interest.
It took me some days to pick up the pen
and write as it seems I am going through one of those periods
when everything seems vain.
I felt good reading Julian Eon’s interview, for some reason I felt less lonely.
I have to tell you here that my answer will be subjective
and it has to do only with Greece, I am not referring to the world of cinema worldwide.
I have wondered many times why I continue to try and make movies.
Of course the answer is always the same, because that is the art that chose me
and I chose her and through her I sharpen my emotions.
When I say emotions I mean the way we perceive the world and the ideas
we form about the environment we live in.
And art is the sharpest tool we can use in that direction.
Now, the way I make movies.
It is intended to be underground.
Without funding, with my own means, with the
help of friends and colleagues and with a specific strategy
when choosing the issue I will work on, so every time I can speak
to a worldwide audience through festivals.
Of course, without any shortcuts that would
make the movie something that stands far from its original intentions.
The reason this happens is not that I cannot ask for funding
but because, in Greece, that choice demands a certain behavior
and psychology that is simply impossible for me to entertain.
And here, I come to the ‘heart’ of the first part of my answer.
The fulfillment I feel from each movie has to do with the fact that I manage to finish it.
Whatever acknowledgments follow, give me the courage to keep going
and when I say acknowledgments I don’t necessarily mean prizes and festivals,
( which haven’t been completely out of the picture) but also e-mails like yours.
PROJECTION # 2 «THE FILMMAKING THAT DISAPPOINTS»
And now, the second part of my answer. the disappointment.
As a romantic artist -please allow me the description- I insist to believe
that in a world that has turned upside down, the art world is the only thing
that can be host to the ‘crack’, the only hope we have for the passing of the light.
When you realize that the agendas, the flattery, the immodesty, thrive more
that in a banking organisation, you lose all sense of justice.
So, you put a big No against them, a total denial,
you exercise your irony to the fullest and you conduct yourself with intelligence.
Until the next movie.
So, let’s shoot again! Mr Julian and Mr Aliaksandr.
PROJECTION # 3 «THE WEIRD FILMMAKING»
…and this is a short story from the last movie I shot, MANIERA GRECA.
The space for the shooting of MANIERA GRECA was not only important but in a way was the co-star of the movie. If it wasn’t the exact right space ( a large dancing floor, called ‘bouzoukia’ in Greek), I had decided not to shoot the movie.
When everything fell into despair because of the lack of money that these spaces need for rental, we met the owner of the space we finally used for the movie, Mr Thanassis Bumpkin. It was a ‘huge’ body-builded guy, a bouncher of the night, the only one that survived through a night of shooting and stayed alive after spending 6 months in coma. On the inner side of his big hands there were three words tattoed: Respect to me. Pretty scary picture to start with.This guy had the sweetest smile. He welcomed us while he kept telling us that we don’t need to worry about anything while he was there around. He gave us the space with the minimum amount of money and kept every word he gave us. Sometimes you find the ‘light’ in what seems to be the darkest place. Night has it’s own truth to share, a truth brighter than the one you might think you meet during the day. That is what makes the world interesting. The contradictions after which is made of.
columnist, director of SMCFF