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Recycling Medea A film by Asteris kutulas

Music by Mikis Theodorakis | Choreography by Renato Zanella | Written by Ina & Asteris Kutulas | Directed by Asteris Kutulas

Synopsis: Medea kills her kids. Despite being recycled through myriads of versions since antiquity, this subject has lost none of its everyday and brutal topicality. Script, sound and dance join forces in a powerful film that reflects the desperation of a society that spent all of yesterday turning its children into those who make up today’s lost generation.

Official poster by DomQuichotte

The storyline of this hybrid opera ballet film, on the murder of two children by their own mother, was written by Euripides, the soundtrack by Mikis Theodorakis, the choreography was devised by Renato Zanella. Six solo dancers – among them the extraordinary Maria Kousouni as Medea – appear in expressive close-ups, lyrical dance scenes, revelatory moments in rehearsals; a blend of traditional ballet and modern expressionist dance, interlaced with images of masked teenagers rebelling and the heavily armored, incensed police. Protagonists from a different, merciless realm that has taken over our everyday reality. These protagonists are flanked and contrasted by the disturbingly mild-mannered 15-year-old Bella, the story’s Innocence incarnate, who is destroyed by the hand of a hostile and selfish world.

Süddeutsche Zeitung: … Asteris Kutulas has made a film on the crisis, on the protests and the story of Medea, the child murderess from Greek mythology. The result, however, is no documentary, but rather a cinematic essay, a visually striking collage that interweaves the protest marches and a Medea ballet production. And he does it to harrowing effect since the presence of prima ballerina Maria Kousouni, combined with the burning streets of Athens, proves an artful plot device with resounding pathos. Not to forget composer Mikis Theodorakis who does not remain the mute composer behind the scenes, but chooses to voice his own opinion. “If I was young today, they might also call me a terrorist”, he states … Andreas Thamm, 15 November 2013

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plärrer (Nuremberg): ... Society: a power hungry, child-murdering entity. In this case, Greece. Two years ago in Athens, Asteris Kutulas watched the Medea choreography by Renato Zanella, head of the Athens National Ballet. The ensemble’s performance inspired this filmic experiment and contemporary reflection of the Greek situation. It explores the tragic figure of Medea who decides to take murderous revenge against her husband’s – avaricious and vain – betrayal. In Zanella’s Medea, terrific prima ballerina Maria Kousouni plays the leading role and key part in a film that is based on two choreographies, artistic and spontaneous. In the latter, Kutulas frequently contrasts the dance sequences with recordings of Greek youngsters, caught up in protests against a state that has robbed them of their future… Jochen Schmoldt, December 2013

Mikis Theodorakis with gas mask | Poster draft for the world premiere in Athens 2013 | Photo © by Mike Geranios/Asti Music

Excerpt from the FAZ (Frankfurter Allgemeine Zeitung) review of the film premiere: … The ballet’s key scene also defines the entire film; it is its quintessence: Jason casts Medea out because he wants to marry another. A “shift in values” that requires and demands unfettered freedom. “If you wish to be free”, Medea retorts, “you will lose your children.” Prima ballerina Maria Kousouni is from Athens and a brilliant, fantastic Medea. Renato Zanella, whose masterly choreographies have already graced Stuttgart, Berlin and especially Vienna, commands Kutulas’ film with his ensemble … Kutulas and his editor Babette Rosenbaum have edited Zanella’s stern danse macabre into harsh scenes of the Greek youth’s physical actions against the government. These monochrome documentary sequences, rarely illuminated by the occasional orange glow of burning streets, see them face the state’s power. It is a ballet of a different kind: that of stamping police boots, light-footed sneakers on the run and injured human bodies hitting the pavement.

Kutulas’ achievement, and that of his team, is the seamless interplay of these dance and street scenes. The almost wordless narration of the suffering murderess, carried by Theodorakis’ powerful music; Medea’s staged emergence from her terrible past; the viewer’s involuntary involvement in the atrocious present, in this everyday war of the generations set against the splendid façade of the parliament on Syntagma Square …

An audience of 1,200 – mostly young people – had flocked to the film’s premiere at Athens’ Theater Badminton. A rousing success, considering the enforced lack of advertising or public announcements: On express government orders, and a mere week before the film’s release, Recycling Medea’s intended promotional partner – state-owned TV and radio station ERT – had ceased operations. The enthusiastic audience, however, not only celebrated Kutulas and his dancers, but most of all wheelchair-bound Mikis Theodorakis, who had been pushed into the theatre by helpers. Edited into one of the work’s vicious fight scenes, the 53-year-old director lets the 87-year-old composer sigh, “If I was young today, they might also call me a terrorist”.

So, what kind of work is this? A music or ballet film? A political work or a documentary? According to the director, it is all of this and none at all. And yet, its context makes this a political film, first and foremost … Hansgeorg Hermann, 4 July 2013

artechock.de: ... Recycling Medea blends classical and modern dance with contemporary scenes of young people protesting austerity measures. According to the description of this powerful cinematic experiment, “Greece murders its children by destroying their future” … Spun from the associative and music-led montage of dance scenes and images showing frail and belligerent youths arises a filmic and identity-defining national anthem on contemporary events, retelling the legend against the backdrop of current crises. Dunja Bialas, 14 November 2013

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tanznetz.de: ... Asteris Kutulas’ filmic poem Recycling Medea conjures up consistent, bold and occasionally cryptic associations, narrated from the perspective of lost children. Playing off and with top-class and exquisitely emotional opera sequences, the direction splices the Greek tragedy (431 BC), verse by metaphorical verse, with the current Greek tragedy and its lost generations. To this end, director Kutulas cuts the antique myth, through impressive camera and editing, into a clash of ‘stage ballet’ and ‘street ballet’, thus creating an entirely different collage and opera-ballet-documentary-art-film … At the same time, Kutulas’ film not only documents the play, but also focuses on the repeated, occasionally baffling disruptions of Medea’s dance-based tragedy by streets filled with hooded and masked youths, armed police forces and burning cars. The time of innocence is gone. With its multi-layered approach, Recycling Medea illuminates times of resistance, of guilt, of lacking perspectives.

Text and image fragments (inspired by Lars von Trier, Pasolini, Carlos Saura, Theo Angelopoulus et. al.) open up new room for thought. The children are dead, the country dying, a gasmask-wearing Theodorakis appears among the protesters; Medea stares up at the bright balcony seats, a masked protester straight at the camera. Art and reality start to mesh. The epic narrative is underscored by stylistic elements, including the film’s typography: a cartoon font softens the harsh reality of Euripides’ quotes.

On a different layer and level, the startling juxtaposition of 15-year-old blond “artlessness” – Bella’s internal monologue – appropriates authentic quotes from Anne Frank’s 1943/44 diary, thus adding contours to a striking yellow press beauty to embody a vision without a future … With its timeless and encompassing approach, Kutulas’ melancholic epic Recycling Medea subliminally catapults fundamental questions of a parent generation’s guilt all the way into the present. – Karin Schmidt-Feister, 18 January 2014

Poster draft by Apostolos Tsiovaras

Berliner Morgenpost: ... Asteris Kutulas transforms the crisis gripping his native country into a poetic film that splices adolescent street fights with the ancient legend of child-murderess Medea. Medea twists and dances to Mikis Theodorakis’ music. The mythical figure finds herself caught in a desperate struggle, grappling with the decision to kill her children to punish her unfaithful husband. Cut. Tear gas wafts through the centre of Athens. Young people flinging fire bombs. Police behind shields. Cut. A young, elfish girl on a green meadow. Lost innocence incarnate. Just like the cradle of European civilisation lost its innocence in the ongoing crisis. The current situation in Greece inspired Asteris Kutulas’ imagery … and the result of these experiences is no feature film per se, no ballet film or political flick. Rather, it is a poetic collage, a 76-minute video clip … Joachim Fahrun, 18 January 2014

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Movie Star: … The film shows the Medea ballet set to Mikis Theodorakis’ music and Renato Zanella’s choreography, cut with fight scenes between police and protestors in today’s Greece. The Anne Frank story, too, joins the narrative. The State Academic Orchestra and the St Petersburg Choir play and sing. Theodorakis conducts. It is an overwhelming, a ravishing music. Kutulas shows the dancers applying make-up as well as their choreographies, he reveals how Renato Zanella works with the ensemble and explains his intentions. The music carries the film, propels it into virtual highs and lows. As do, it should be said, the shoulders of prima ballerina Maria Kousouni. Shoulders of incredible strength, militancy and vulnerability; shoulders of great radiance. They symbolise the Medea legend’s dire abyss – and the sheer might passionate women can add to the scales. Something that simply needs to be seen. Kopkas Tagebuch, Movie Star, 19 January 2014

Making of photo by © Stefanos Vidalis

Hollywood Greek Reporter: ... Another film that deserves mention is Asteris Kutulas’ film ”Recycling Medea”. It is a fascinating motion picture adventure, a cinematic canvas that mixes ballet dancing with opera music composed by the iconic Mikis Theodorakis, narration, images of youth protests in the streets of Athens and a character inspired by Anne Frank. Visually stunning and masterfully choreographed by Renato Zanella, the dancing vividly conveys an array of feelings ranging from love, hate, revenge and ultimately Media’s denial of the unbearable crimes she has committed. (24 June 2015)

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Greek News Online: ... Based on the intensely dramatic and exceptionally emphatic opera Medea by composer Mikis Theodorakis as well as Renato Zanella’s no less expressive ballet choreography, danced by exceptional prima ballerina Maria Kousouni, Asteris Kutulas spins surprising links between the choreographies of stage and street where, on Athens’ Syndagma Square, police and young protesters find themselves embroiled in bitter battle. (May 26th 2014)

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Spyros D. Orfanos: The moral lesson of this epic poetic feature film raised my consciousness from the inside out. This is not art for art's sake. It is art with a deep compassion for humanity. The pacing is fast and the message clear: the future of our children has been seriously compromised. Koutoulas' film should be viewed by a wide and diverse audience. (Spyros D. Orfanos, Ph.D., New York University, Clinic Director, Postdoctoral Program in Psychotherapy & Psychoanalysis , 2015)

Maria Kousuni as Medea, Photo © by Stefanos Kyriakopoulos

plärrer (Nuremberg): Provoking opus ... Based on the Medea choreography by Renato Zanella, head of the Athens National Ballet, Asteris Kutulas achieves a harsh contrast: fleet-footed art meets the spontaneous choreography of the streets in the guise of young Greek demonstrators in Athens who tackle a phalanx of law enforcement to vent anger about their stolen future. The visually captivating film leaves plenty of space for the sheer incredible presence and expressiveness of dancer and prima ballerina Maria Kousouni performing the elegiac revenge of a jilted Medea, while the charged and emotional ballet music was composed by Mikis Theodorakis, based on his opera Medea by Euripides … Jochen Schmoldt, December 2013

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Junge Welt: ... Recycling Medea is a stirring and disturbing film about today’s child-murdering society. “To me, the Medea film”, explains Theodorakis, “is a Greek work of art.” A true statement. In the spirit of its Greek origins, it tells – in grand style – of our origins. It is a work about us all. Hansgeorg Hermann, 27 June 2013

"Medea" ballet rehearsals with Maria Kousouni & Mikis Theodorakis, Athens 2012 (Photos © by Asteris Kutulas)

Director’s statement: I wanted to shoot a filmic poem, a monumental, unusual and very emotional music „video clip“ to highlight a desperate woman’s – and radicalized youth’s – yearning for freedom, both sold down the river, both at war with their own society.

Medea, Jason, Bella and Anne Frank, composer and protestor-extraordinaire, Theodorakis, the choreographer Renato Zanella, the cameraman, the dancers and the rebelling, hooded teenagers hurtling stones at advancing police – they all become (in)voluntary actors in this complex tragedy spanning the ages. Asteris Kutulas

Behind the scene photos by © Ina Kutulas, Klaus Salge, Asteris Kutulas, Mike Geranios a.o.

Composer’s statement: From the beginning, the tragic element in music has exerted a stronger spell on me than any other. It certainly suits my character. So, for me it seemed only natural to turn to ancient drama – initially, as a lover of this artistic genre, and later also as a composer. I started to write theatre and film scores for ancient tragedies and later proceeded to explore lyrical tragedy, i. e. in my operas.

When Renato Zanella came across the music of my lyrical tragedy “Medea”, he decided to base his corresponding ballet choreography on this score. Finally, Asteris Kutulas came along to create an entirely new work of art, itself based on the elements mentioned above. However, Kutulas did not simply create a filmic document of the ballet, but decided to transform these elements into something entirely new, thus lending the result a deeply social and political dimension.

He made a film with a very contemporary message: Despite the tragedy Greece has been forced to face by the criminal international economic system, the country still stands, although deeply wounded. Euripides’ Medea screams – expressed by Maria Kousouni in dance and vocalised by singer Emilia Titarenko – because betrayal drives her to the most terrible crime imaginable: the brutal slaughter of her own children. Today’s Greece comes together in the infernal screams on the country’s streets and squares because – as a victim of ruthless actors within and those attacking Greece from without – it, too, finds itself driven to the most terrible crime: killing the future of its own children.

I think we are dealing with a true work of art, one that prompts us take responsibility. A work that doubles as an anthem for the struggle of the people and nations to achieve freedom and true independence. Mikis Theodorakis

About the film

Not just a music film. Not just a ballet film. Not just a political film essay. Here, an antique Greek tragedy serves as an astute metaphor for Greece’s and Europe’s current tragedy. Medea kills her own children. Society has turned against its offspring and thus ending their future.

The balletic retelling of a mother murdering her two kids, choreographed by Renato Zanella, is based on Euripides’ play and features music by Mikis Theodorakis. Script, sound and dance join forces in a powerful film that reflects the desperation of a society that spent all of yesterday turning its children into today’s lost generation.

The film begins with the first bars of Theodorakis’ music and ends with the final notes of his work, framing the occasional spoken word. Six solo dancers – among them the extraordinary Maria Kousouni as Medea – appear in expressive close-ups, lyrical dance scenes, revelatory moments in rehearsals; a blend of traditional ballet and modern expressionist dance, interlaced with images of masked teenagers rebelling and the heavily armored, incensed police. Protagonists from a different, merciless realm that has taken over our everyday reality.

These protagonists are flanked and contrasted by the disturbingly mild-mannered 15-year-old Bella, the story’s Innocence incarnate, who is destroyed by the hand of a hostile and selfish world. Against this background, she seems almost unreal; a fictitious character. On the other hand, certainly not fiction, are the words of Anne Frank’s, hidden away in her Amsterdam hideout and filling the pages of her diary. They contribute to Bella’s sense of isolation and provide her „voice“ and thoughts.

Medea, Jason, Bella and Anne Frank, composer and protestor-extraordinaire, Theodorakis, the choreographer Renato Zanella, the cameraman, the dancers and the rebelling, hooded teenagers hurtling stones at advancing police – they all become (in)voluntary actors in this complex tragedy spanning the ages.

Danilo Zeka, Maria Kousouni, Mikis Theodorakis | Making of photo by © Asteris Kutulas

CREDITS

Music by Mikis Theodorakis

Choreography by Renato Zanella

Directed by Asteris Kutulas

Written by Asteris & Ina Kutulas

Cinematographer Mike Geranios | Editor Babette Rosenbaum | Artistic Consultancy Klaus Salge | Music Remixing, Editing & Mastering Alexandros Karozas | Sound Recording Klaus Salge | Sound Editing Sebo Lilge | Graphic Design Frank Wonneberg | Motion Graphics Dominik Kokocinski | Colorist Antonia Gogin | Online Editor Neil Reynolds

Cast

Maria Kousouni as Medea

Mikis Theodorakis as The composer | Renato Zanella as The choreographer | Bella Oelmann as The lost one | Danilo Zeka as Jason | Franziska Hollinek-Wallner as Glauce | Eno Peci as Aegeus | Sofia Pintzou as Coryphaea | Nicky Vanoppen as Creon | Guest Appearance Nicolaus Kausch | Special guest André Hennicke

Akropoditi Dance Theater Anna Vaptisma, Pigi Lobotesi, Maria Mavri, Filia Milidaki, Anna Ouzounidou, Eleni Pagkalia, Nadia Palaiologou, Adamantia Papandreou, Vivi Sklia, Georgia Stamatopoulou, Antigone Choundri

Voice of „The lost one“ Surah Field-Green (English) | Emmanuelle Latour (French) | Effi Rabsilber (Deutsch), Ioanna Kriona (Greek) | Keren Vogler (Hebrew) reading extracts of "The diary of Anne Frank" (1943-44) with kind permission of the © ANNE FRANK FONDS, Basel

Casting Director & Assistant Film Director Marcia Tzivara | Gaffer Vassilis Dimitriadis | Make Up Artist Saretta Rosa | Second camera (ballet) Asteris Kutulas | Additional Photography James Chryssanthes (ASC), Stefanos Vidalis, VROST, Lefteris Eleftheriadis, Ioannis Myronidis, Vasilis Nousis Zafeiris Haitidis | Texts Design Assistance Tino Deus | Assistant Online Editor Felix Bester | „Anne Frank“ Voice Over Recordings Jannis Zotos, Holger Ehlers and UFO Sound Studios Berlin

Translations Sonja Commentz (English), Ina Kutulas (German), Elinoar Moav (Hebrew), Theo Votsos (Greek), Cécile Marcoux & Anna Turne (French)

Camera & Lighting Cinegate Berlin

Legal Rafaela Wilde

Site Management in Nuthe-Urstromtal Uwe & Anita Förster | Production Coordination in Greece Dimitris Koutoulas

Executive Producer Brigit Mulders

Produced by Asteris Kutulas & Klaus Salge

Ballet Staging

Choreography Renato Zanella | Lighting Design Vinicio Cheli | Assistant Choreographer Alessandra Pasquali | Chorus Choreographer Angeliki Sigourou | Musical Assistant Jiri Novak

Ballet performances filmed at the „Apollo“ Theater of Hermoupolis (Syros)

International Festival of the Aegean | Presented by MidAmerica Productions of New York and the Municipality of Syros-Hermoupolis | General & Artistic Director - Festival of the Aegean Peter Tiboris

Festival Production Coordinator Dimitris Yolassis | Stage Manager Lena Chatzigrigoriou

Poster draft by Apostolos Tsiovaras

Music „Medea“ (Opera in two acts)

Composed by Mikis Theodorakis | Text by Euripides | Recorded digitally at the Capella Concert Hall St. Petersburg by Gerhard Tsess & Alexandros Karozas | CD Published on WERGO

Emilia Titarenko (Medea) | Nikolai Ostrofsky (Jason) | Peter Migounov (Aegeus) | Wladimir Feljaer (Creon) | Irina Liogkaja (Nurse) | Eugeni Witshnewski (Messenger) | Daria Rybakova (Coryphaea) | Juri Worobiow (Paedagogus) | St. Petersburg State Academic Capella Orchestra & Choir | Conducted by Mikis Theodorakis | Music Edited by Mikis Theodorakis & Alexandros Karozas | Music Produced by Alexandros Karozas & Asteris Kutulas

Music „Lost in Phaedra“ & „Farewell“

Composed by Mikis Theodorakis | Orchestrated and Produced by Francesco Diaz | Co-Produced by Asteris Kutulas | CD „Timeless“ Published on Wormland Music

Music published by Schott Music and Romanos Productions

Courtesy of Romanos Productions and Schott Music

Official poster by DomQuichotte

ACKNOWLEDGEMENTS

With the kind support of the Strecker Stiftung and of PRG/Cinegate

With the kind support of Peter Hanser-Strecker, Margarita Theodorakis, Angelika Oelmann, Andreas Rothenaicher, John Hansen, Florian Staerk, Katrin Zillinger and Optix Berlin GmbH, Anita & Uwe Förster, Mousse T., Tim Dowdall, Rafaela Wilde, Peter Tiboris, Peter Massine, James Chryssanthes, Holger Ehlers, Alexandros Tsoupras, Katharina Krist, Daniel Höferlin & The Asphalt Club Berlin Team

Many thanks to Margarita Theodorakis, Rena Parmenidou, Ingo Rehnert, Nina Hof, Guy Wagner, Peter Zacher, Alexander Koutoulas, Barbara Eldridge, Janek Siegele, Jessica Schmidt, Silke Spalony, Christopher Wohlers, Marcus Lenz, Frauke Sandig, Eric Black, Rainer Schulz, Marie-Sophie Brugsch, Michelle Pais, Lois Christmann, Lara Schlesinger, Victor Kausch, Benedict Fritsche, Alexander von Jost, Alessandra Oelmann, Fotis Geranios, Velissarios Kossivakis, Eva Kekou, Michalis Adam & the Badminton team, Hansgeorg Hermann, Wassilis Aswestopoulos, Tzeni Foundoulaki, Alexandros Karamalikis, Stefanos Kyriakopoulos, Nikos Tzimas, Caroline Auret & Stefanos Korkolis

A November Film & Asti Music Production

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