"The internet and poetry are not adversaries"

"The internet and poetry are not adversaries"

By Paulos Th. Kagios

"GREEK CINEMA SHOULD STAY AWAY FROM ANY SORT OF COMPLACENCY AND OF REPRODUCTION OF TELEVISION AESTHETICS. THAT’S THE ONLY WAY FOR IT TO STAND ON ITS FEET, OTHERWISE IT WILL SINK IN THE COUCH," SAYS LUCIA RIKAKI.

Internet-inspired, naked from social conventions, and closely linked to the Greek summer landscape, Lucia Rikaki’s "Hold Me" uses the internet as a cradle of poetic symbolism.

"When I was a kid, and I saw two people holding each other tightly by the hand, I used to cry," remembers Lucia Rikaki. This is why she asks "Hold me", with her fourth fiction film. To go where? "Everywhere in the open horizon. Perhaps because the horizon over the sea is a line between it and the sky, which is not defined geographically and thus gives room for hope and gives man wings, and when your partner holds you by the hand, your sweat and your breath become one, you don’t care about anything and you fear nothing," she says emphatically.

In love at this period, and in a phase of poetic elation, she doesn’t fear that… she might be misunderstood, and her movie is affected by this same mood... "I don’t know why we have to misunderstand or censor ourselves before somerthing that we need, just because lifestyle perhaps dictates that these things aren’t mainstream enough. I argue that we need poetry, not violence, that we need beauty, another aesthetics in our everyday relationships, but also in politics and in society. I firmly insist on the film’s poetics and it emotional nature, and tried to show the beauty of the Greek summer landscape in relation to the human body."

It is worth mentionning that all this "poetry" emerged from the internet. And this was madde possible through a website created by Lucia Rikaki, and focusing on "loss", in which various users expressed their opinions. Then, 30 of them gathered in groups, worked according to the surrealist concept of automatic writing, and she composed all that in the one scenario. The heroine is a radio producer – Katerina Lypiridou, along with Panayiotis Bougiouris to who she says "Hold Me" – who suddenly loses her father and decides to create a website to share her pain with various other "stories of loss. " The movie script, along with the soundtrack of the film (music and songs composed by Thanasis Papakonstantinou and Marietta Fafouti) have already been released in a single case, by the publishing house Lyra Polytopon.

And why did you choose the way of the symbolism?

Because there is a density in symbolism, something similar with the paths of poetry. Symbolism permits abstraction. This is what I seek, and believe me, despite what the statistics of the box office say, there are people in need of that, and I see this every day, at screenings both in Greece and abroad.

Is this a "women's film," and what does this mean?

Our behavior inevitably has a gender, and therefore our art has it too. But I stuggle for my behavior, my art and my life not to succumb to the socially prescribed gender roles. Art should deviate from what is considered as proper social behavior, anyway. So it is apprehended by the political correctness police, it is imprisoned, and then it must escape and begin to deviate all over again. The mission of art is perpetual curiosity, questioning, changing angles.

At any rate, the "Hold Me" phrase in your film is said by a woman says, even though today it could be said by a man too, which would be… misunderstanbable 15-20 years ago. What has changed?

The most important gift that my film has made to me is that it gave me the opportunity to meet the man who made me fall in love with all my heart, because he told me exactly this: “hold me.” In a critical phase for him, I stood by him for him to rediscover the creative power to wear the wings of redemption and hope, and to gaze at the horizon that he needed so much. But society is harsh, it doesn’t want men to behave as the weak ones, because it doesn’t understand how much wonderful mental strength it takes for one to know how to ask and how to receive, and it teaches men not to cry, in order for them to assert the weight of their role. What hypocrisy!

Still, hasn’t it become harder nowadays for the two sexes to reach to some understanding, than what it was before?

This is because we have confused the roles. For example, "married" ["ypandros" in Greek] litterally means "under the man" [in Greek]. So, this means that, in order for me to convince someone that I'm committed to the relationship, I must pretend that I am dependable. These are social roles that respond to an alleged balance, and maintain an endless hypocrisy which unfortunately holds most of us prisoners, because of the social fear which is sinister and fascist, and before which we stand in attention or take poses.

Do you think that easy living and consumerism have made people more selfish and they no longer abandon themselves to the craziness of love?

To me, love is the ultimate wisdom. But you surely go through the overturn and the excess, as you should, in order to get to a social context which doesn’t require the pretention, but the essential. This is what happens to those who defy the middle-class stereotypes, which lead to suffocating coexistences in order not to disrupt the alleged social balance, and build towers of cards based on lies, embellished by the souless socialite mannerisms.

«CINEMA OUGHTS TO BE PROVOCATIVE»

«LOVE IS PRIORITY»

Source: http://www.tanea.gr/news/culture/books/article/32248/?iid=2