On the stage of the theater we see a modern version of Oresteia. Shortly before the murder of Cassandra, a number of young boys and girls invade the theater and change the flow of the show. Spectators led by the leader of the invaders take place among actors and assume an essential role in the development of the drama. The other spectators watching the show don’t know if what they see is the directors will or a dangerous hostage situation.
Yorgos Zois directs his first feature film, which screened in the section “Orizzonti” of the 72nd International Film Festival of Venice. After the excellent “Casus Belli” and “End Titles” -both short films, Zois comes to justify the reputation around his name. The inspiration for “Interruption” comes from the invasion of Chechen separatists in a Moscow theater in 2002. At first, the spectators did not realize that this was a hostage situation, but believed that what they lived was part of the show.
Interruption talks about the thing that we consider as spectacle. When a spectacle starts, when it ends, if it can trap you into oblivion and inaction and who is the one that guides the spectacle. Beginning from the tragedy of Aeschylus that deals with betrayal and justice, Zois builds a new myth. The viewers who come on stage are people from different social groups and with different temperaments, some confident others shy, some are wealthy while others are fighting for survival and the realization of their dreams. Each of them is different, but they are all exposed on stage. They become the object of attention, while they are removed from safety and anonymity and their place in the theater seats provides them.
Slowly – to the point that at times you feel the movie tests your patience- Interruption is in no hurry to give you ready what the film wants to say. It leaves you -the viewer of this spectacle- to decide the symbolism. It also exposes you, as the star of the film exposes the viewers of the theater. There are no promises that you will not abandon the effort and let Interruption pass you by. And that is the biggest flaw of the film, that it’s a movie self-centered. Without thinking about the viewer, Zois creates a story that either entices you and troubles you, or makes you forget easily about what you saw.
Apart from the importance and the conclusions of the movie there is also the technical part, and there Zois excels. The management of light, the frames and the acting demonstrate his talent in making a movie. The magic that the film visually conveys is complemented by the shots of deserted spaces -central theme but with different object in End Titles- outside the theater. The abandonment and isolation of the theater from the outside world, works like a surrealistic element against any realistic element you may want to attribute to the film.
Alexandros Vardaksoglou carries upon his shoulder much of the films weight, true to a role that requires him to be a cold attacker who is determined to direct the spectacle with his own terms. Around him we find Maria Kallimani, Alexia Kaltsiki, Pavlos Iordanopoulos, Sofia Kokkali, Aeneas Tsamatis, Efi Rabsilber, Aggeliki Margeti, Alexandros Sotiriou and Natassa Mprouzioti.