The camera doesn’t interrupt the movement and finds Abdel’s brother Karim (Sami Slimane, a searing presence in his screen debut). His eyes burned with anger, and his posture impatient, he lit up and threw Molotov cocktails at the door, starting a well-planned riot in the midst of a raging crowd. Through it—and the extraordinary action sequence of the smoke-filled chaos that follows—Karim and the protesters take over the site and a large supply of weapons, with the agile and agile camera of cinematographer Matias Boucard following them to their housing project, Athens: a place where proudly adored by these revolutionaries above all else, standing tall on the edge.
Honestly, Surkin’s pulsating score that spreads out on its own in this sequence (and many other impressive ones after) is huge and exhausting. The dynamic between music and visuals is one that reminds us of Hans Zimmer’s sometimes over-the-top penchant for composing for Christopher Nolan—competing against the filmmaker’s already large image, rather than amplifying it. But despite that, “Athena”—a Greek tragedy built by Costa-Gavras’ son with a recognizable “Z” twist—is incredibly satisfying as a political thriller and a fast-paced urban drama that feels thoroughly cinematic, with the technical flair to which it belongs. remaining. .
However, this film that essentially follows three different Idir brothers is more emotionally gripping in its rare moments focusing on small, quiet movement and undercurrents. A realistically crafted Islamic funeral prayer (and recited) comes to mind, a prayer that smolders with family pain and resentment. Elsewhere, a third brother, Moktar (Ouassini Embarek), gives “Athena” one of the more challenging and narratively complicated storylines, being a brother who finds a way to line his pockets amid all the injustices his people have endured. Running a drug operation from Athens, Moktar’s main interest is his own survival and he is not afraid to do anything dubious about it.
Source : dial.news