Stavros is a child with an imagination that troubles his parents. He refutes all myths and historical events that his teachers try to teach him. His own versions seem sacrilege and display a lack of respect to the things considered sacred in Greek history. Stavros grows, the defect is not cured, but through sexual frustrations and his love for photography and cinema it will be channeled to a creativity that will be nurtured in Athens, during the 70s and 80s.
Tasos Mpoulmetis after A Touch of Spice, returns to the nostalgic cinema that he spoiled us with, with the help (again) of the composer Evanthia Reboutsika and her music.
At the start of the film you may feel that it is more like A Touch of Spice than you expected, but don’t jump into conclusions. Notias goes its own way, keeps the nostalgia and tenderness of A Touch of Spice but deals with new themes. Far from cooking, here we are dealing with cinema and a film more autobiographical, as it is influenced by the experiences of Boulmetis and his passion for filmmaking.
Grafted with politics and with emotional adventures, the film wants to visit Athens of the years before. And the truth is that sometimes it achievesit: the revival of roads with bus and car models of that time is moving – albeit overhead shot of Omonoia Square seems more digital than you can afford. Notias does not only let you wander in the streets of Athens, but allows the viewer to visit ideas and cultural references of the times. Koutoukia (greek restaurants), where the wine flows in abundance and where the types with turtlenecks go to form the -then- party of hope, cinemas projecting films we now consider cinematic history and student assemblies where one sees the need to excommunicate the city through film symbolism.
Indirect protagonists of the film are two symbols of the greek identity. Onassis on the one hand is the Greek who enjoys the admiration and adoration for being a self-made Croesus and the Trojan horse on the other is the symbol of the scheming of Greeks and their ability to achieve the difficult.
Boulmetis’ filming is consistent with the spirit of the time and the emotions that are born from the adventures of Stavros. The visualization of lesions that the fantasy of the hero makes adds a fairytale element to the narrative. The script seems at times to blab and some scenes exist without an important reason. On the negative side add plenty of advertising, a necessary evil for the completion of this level of production.
Yannis Niarros plays Stavros, bringing to the screen a young, romantic, sensitive and imaginative, that sets himself against any allegiance dictated by the aged perceptions. In the film we also see Themis Panou (he won the Volpi Cup in Venice for his role in Miss Violence), Maria Kallimani, Taxiarhis Hanos, Argyris Ksafis, Erikos Litsis, Omiros Poulakis, Melisanthi Mahut, Hara Mata Giannatou, Dimitris Imelos and Gogo Sapountzaki, a greek idol of yesteryear.