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If you're looking for a movie that feels like a chaotic mish-mash of disconnected elements trying to pass off as art, look no further than The Daughter (2012), also known as Fairytales. Directed by Thanos Anastopoulos, this little-known Albanian-Greek film is all about a girl named Myrto, her absent father's lumber mill, and the chaos that ensues in politically charged Athens. The movie hit the scene back in 2012, practically screaming for attention amidst the economic and social turmoil in Greece at the time.
Now, if you’re from the camp that believes films should have coherent storytelling, then buckle up. The film tries to capture the metaphorical and literal ruin of Greece through the eyes of an innocent child, Myrto. Sounds noble, right? But nobility here won't stop you from feeling like you walked into a maze without a map, with the narrative practically begging for a focus.
First of all, let’s applaud the bravery of trying to balance political upheaval, a broken financial system, and a child’s personal crisis. Director Anastopoulos seems to assume viewers are familiar with the intricacies of the Greek economic meltdown, and he wraps all of that into a drama about a missing parental figure and the kidnaping of a seemingly random child. Myrto concocts a plan out of sheer desperation to find her father, who's mysteriously vanished. So, what does she do, naturally? She kidnaps her half-brother Lukas, hoping this will bring her father back. Yep, a brilliant plan only Hollywood could love.
The movie is an emotional rollercoaster set against the backdrop of a decaying Athens, attempting to be a universal metaphor for the failed Greek economy. But the execution leaves you feeling like you missed an episode of a series you’ve never heard of. It's a bold but convoluted project, with a goal that's less about clarity and more about mood and atmosphere—as if dusty streets and eerie silence alone can convey the complexities of losing a homeland.
What really surrealizes the piece is how it balances the whimsical naivety of childhood with stark, bleak realities. The production quality provides a gritty, realistic viewpoint that doesn't seem to shy from its indie film budget. Visually, it’s raw and uninhibited; you’ll find no excessive polish here. For that, in fairness, the movie captures something real, even if the story leaves you grasping at straws.
The characters are as layered as the semolina cake they munch on while trying to rationalize kidnapping. Myrto, despite possessing the calculated brilliance to manage euros at the start of the film, doesn't quite translate that into a logical rescue plan for Daddy Dearest. But maybe that's the point? A child kidnapped by the idea of finding grounded solutions in irrational times, trapped in a system she neither understands nor agrees with.
In terms of acting, the cast does what they can with the roles handed to them. Savina Alimani tries her best to steer the ship as Myrto and navigates the complexity of a little girl with adult-sized problems. The supporting cast adds to the confusion with their equally nebulous relations and subplots. You’ll spend more time in exasperation figuring out who’s who than truly investing in the why.
Speaking of investing, it'd be a shame not to discuss budgeting here. Movies like these always seem to have critics swooning over their "artistic value." It's rare to find an overly critical review in mainstream outlets, because, who wants to admit they couldn't grasp this film's deep importance? The film feels less like a strategic piece of cinema and more like a passion project that accidentally found its way into the market.
But what does all this mean for movie-goers like you or me? Chances are, if you prefer films with a straightforward narrative, you'd be left scratching your head. The social commentary is present, but buried under a narrative that refuses to lay its cards on the table. This isn’t a movie; it’s an abstract painting trying to convince you it’s a portrait.
Surprisingly, the film wasn’t widely ignored by critics at the time. Nope, it even made appearances at film festivals, enticing those who love the smell of metaphors in the morning. While it may find some acclaim in particular circles, many will find themselves wanting a way out of the dreamscape it tries to create.
And therein lies the true charm for some: a film that refuses to conform, much like a certain segment of the societal spectrum determined to shepherd their truth as universally enlightening. Maybe it’s fitting. For a movie produced in the peak of financial ruin, its convoluted portrayals and murky heart can strike a chord with audiences trapped in socio-political labyrinths of their own. But then again, maybe you'd just prefer a movie with a coherent plot and a definitive ending.