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DIRECTED BY: Nikos Nikolaidis
FEATURING: Alkis Panagiotidis, Konstantinos Tzoumas, Rita Bensousan
PLOT: A group of washed-out wretches reunite.
COMMENTS: Nikos Nikolaidis is perhaps the Greek director most closely associated with the “Surrealist” label. His works often merge dreams with noir elements and social critique. ” Singapore Sling” (1990) may be his most extreme movie, in terms of graphic scenes and fetish content, and is the most well-recognized internationally. However, in his own country he is most appreciated for his trilogy “The Years of Cholera,” about people in the margins of society. Wretches, the trilogy’s first installment, has gained cult status, thanks to its witty dialogue and absurdism.
The opening scene sets the tone accordingly, giving a sense of ultimate doom. The plot that follows, revolving around the reunion a band of people in their late 30s- early 40s, develops retrospectively. Alkis, a faded musician, calls for this gathering. He spends his time in his mansion reminiscing about Vera, his so-called ex-wife, attempting unsuccessfully to find her again through a plethora of liaisons with other women. His method is the epitome of nihilism, though. Nightly, he kidnaps, rapes, and then murders women reminding him of Vera, burying them in his garden right after. But perhaps, as a phantom of one of his victims claims, “Vera never existed, it is just the name of an era lost forever.”
As his friends gradually appear, we get to know their eccentric personalities. Kostas, with his cold demeanor, adds an element of deadpan humor to the table. Short, fat Christos is the “funny guy” of the group. And then there is Rita, the girl with the enigmatic past and a history of confinement in psychiatric hospitals.
Alkis now has companions for his savageries. The group proceeds to indulge in a variety of anti-social behaviors, always culminating in sex and death. There is a melancholy on the air for friends lost along the way, and a feeling of having lost control over their own lives. As Christos states while proposing a toast, “They took me in the university without asking me, they took me in the army without asking me, and without understanding how, I found myself married.” Their degenerate acts seem like a desperate attempt to reassert control over their fates.
Rita is the most marginalized character, not feeling at home even within the group. She feels used, in more ways than one; she stoically endures sexual assaults from her “friends” while asking desperately, in vain, for them to listen to her, even for a bit. She emerges as a complex, abused personality, full of contradictions.
Acting is a big part of the appeal here. Each character recites their lines with a musicality. The rich accompanying soundtrack, full of old blues, jazz, and rock and roll, also enhances the sense of nostalgia and regret, while the many night shots and blurry visual effects give the film a noirish, almost dreamlike feel.
The narrative is straightforward at times, yet has its surreal moments. A dead girl occasionally appears in the mansion, checking on the group and looking after Alkis. Everyone is apathetic, even after the most outrageous or bizarre occurrences. Add a grim finale fully immersed in hopelessness, and you have an exquisite example of nihilistic cinema.
WHAT THE CRITICS SAY:
No other English language reviews found for this film.
(This movie was nominated for review by “Dimki.” Suggest a weird movie of your own here.)
It’s reasonable to view “Hen, His Wife” as an unsubtle metaphor for bigotry, as the husband’s outsized reaction would feel just as harsh if she had been outed as Jewish or an escaped criminal or a fan of Nickelback. Indeed, the salesman doesn’t so much leave as vanish in a puff of smoke, like a pernicious rumor. That might be too much to put on the shoulders of this slight, one-joke cartoon. That said, the wife’s return to see the fate of her beloved husband is authentically sad, and reminds us that love might conquer all, but only if we let it.
“Pâté” is an accomplished student film, with excellent production values and a well-earned sense of dread. (The short earned attention at Sundance, proving to be the calling card that earned director