THE RISK OF INERTIA, Three Days Happiness
by Elie Catsiel
editor in chief Sequences
Three Days Happiness
editor in chief Sequences
Three Days Happiness

THE RISK OF INERTIA
THREE DAYS HAPPINESS
Elie Castiel, Montreal, SÉQUENCES 277 | Mars-Avril 2012,
We know Dimitri Athanitis, from 2000+1 Shots, a severe, desperate, claustrophobic film, which imprisons its characters without any possibility of communication, in the existential labyrinths of a century that rises without reference points. A film that was also a carnal representation of Athens, a disturbed city, without a soul.
Eleven years later, this Greek city remains still disincarnated, surrealistic, depressing, extending its tentacles stealthily, silently, without any consolation for her residents. Undoubtedly influenced by the economic crisis affecting the country, Athanitis highlights an inhospitable urban environment, where relationships are moving between confrontation and anger. Although inertia is dangerous, although they should act quickly, the characters influenced by the environment, they seem incapable to engage situations. However they make an effort.
Three young women are at the heart of this story; Irina, Anna and Vera. The first is a prostitute, whose dream is to move to Canada to change her life. The second, a saleswoman in a bookshop, wants to get married to overcome her family’s trauma. And the third, a literature student, discovers the secrets of her parents, secrets that will influence her behavior. Around them, other women and men, lovers, customers, spouses, fathers, pimps and detectives. Everything here is on exchange; they sell their bodies for money, they are given to secure a future in an unknown world, they are sacrificed for a piece of happiness, however uncertain it might be.
The direction, as in 2000+1 Shots, it is icy. Willfully. It reflects the psychology and actions of persons trapped in situations that exceed them. Because the Three Days Happiness do not try to be realistic. The film chooses to highlight the instinctive, the snapshot, what we do not see, what we perhaps imagine. Once more, Athanitis takes advantage of the unsaid, the silence, the comprehensive short sequences.
A worthy Bresson’s student, gives a symbolic meaning to objects (mirrors, tables, doors, windows, bridges, tunnels, corridors) and the body (hands, fingers, neck, shoulders, embraced bodies, eyes), assigning to them an aptly narrative character. From Bergman, the young director has been inspired the long shots on faces, the accuracy of tone, the mirror games and the melancholic atmosphere.
The three young women, each one from her own side, experience intense conflict while trying to overcome harsh psychological pressure. Irina is in love with Misa, the one that passes her to customers, but she can not forget her dream to move to Canada, against the dangerous ties with her patrons. Anna is in love, she knows that her boyfriend could cheat but she still wavers before the plunge. They are different but they share two things: they are young and their problems have to do with their families.
Thus, the film with this meaningful title, essentially revolves around this social institution, its different versions according to different social classes, its imperfections and means of survival. And speaking of family, the film also talks about the physical body and its transformations, about the masks we wear by force and those who would never remove. These exposed bodies also refer to the city and space. Filmed entirely in a dark blue tone, the whole film gives a vampire’s sensation.
The beginning and end of the film makes a fundamental question: "How can we give shape to something that does not exist?" The real and the unreal, seem to be confused in Athanitis. The real life and thus happiness, is what we do not see. How long can this happiness last, one hour a day or a lifetime; Questions on which the director does not give any answer, in a severe, desperate film, with no outcome. But through that, the film reflects a society where personal relationships are totally influenced by money, family liaisons, love and the inescapable influence of the city.
Through this point of view, Three Days Happiness is a political film, worthy of representative of a current Greek wave, which rejecting any artificial, forces a questioning of the world.
THREE DAYS HAPPINESS
Elie Castiel, Montreal, SÉQUENCES 277 | Mars-Avril 2012,
We know Dimitri Athanitis, from 2000+1 Shots, a severe, desperate, claustrophobic film, which imprisons its characters without any possibility of communication, in the existential labyrinths of a century that rises without reference points. A film that was also a carnal representation of Athens, a disturbed city, without a soul.
Eleven years later, this Greek city remains still disincarnated, surrealistic, depressing, extending its tentacles stealthily, silently, without any consolation for her residents. Undoubtedly influenced by the economic crisis affecting the country, Athanitis highlights an inhospitable urban environment, where relationships are moving between confrontation and anger. Although inertia is dangerous, although they should act quickly, the characters influenced by the environment, they seem incapable to engage situations. However they make an effort.
Three young women are at the heart of this story; Irina, Anna and Vera. The first is a prostitute, whose dream is to move to Canada to change her life. The second, a saleswoman in a bookshop, wants to get married to overcome her family’s trauma. And the third, a literature student, discovers the secrets of her parents, secrets that will influence her behavior. Around them, other women and men, lovers, customers, spouses, fathers, pimps and detectives. Everything here is on exchange; they sell their bodies for money, they are given to secure a future in an unknown world, they are sacrificed for a piece of happiness, however uncertain it might be.
The direction, as in 2000+1 Shots, it is icy. Willfully. It reflects the psychology and actions of persons trapped in situations that exceed them. Because the Three Days Happiness do not try to be realistic. The film chooses to highlight the instinctive, the snapshot, what we do not see, what we perhaps imagine. Once more, Athanitis takes advantage of the unsaid, the silence, the comprehensive short sequences.
A worthy Bresson’s student, gives a symbolic meaning to objects (mirrors, tables, doors, windows, bridges, tunnels, corridors) and the body (hands, fingers, neck, shoulders, embraced bodies, eyes), assigning to them an aptly narrative character. From Bergman, the young director has been inspired the long shots on faces, the accuracy of tone, the mirror games and the melancholic atmosphere.
The three young women, each one from her own side, experience intense conflict while trying to overcome harsh psychological pressure. Irina is in love with Misa, the one that passes her to customers, but she can not forget her dream to move to Canada, against the dangerous ties with her patrons. Anna is in love, she knows that her boyfriend could cheat but she still wavers before the plunge. They are different but they share two things: they are young and their problems have to do with their families.
Thus, the film with this meaningful title, essentially revolves around this social institution, its different versions according to different social classes, its imperfections and means of survival. And speaking of family, the film also talks about the physical body and its transformations, about the masks we wear by force and those who would never remove. These exposed bodies also refer to the city and space. Filmed entirely in a dark blue tone, the whole film gives a vampire’s sensation.
The beginning and end of the film makes a fundamental question: "How can we give shape to something that does not exist?" The real and the unreal, seem to be confused in Athanitis. The real life and thus happiness, is what we do not see. How long can this happiness last, one hour a day or a lifetime; Questions on which the director does not give any answer, in a severe, desperate film, with no outcome. But through that, the film reflects a society where personal relationships are totally influenced by money, family liaisons, love and the inescapable influence of the city.
Through this point of view, Three Days Happiness is a political film, worthy of representative of a current Greek wave, which rejecting any artificial, forces a questioning of the world.
Three Days Happiness from Dimitri Athanitis on Vimeo.