It tries to be a horror, sci-fi, political allegory, social comment, study of a disturbed mind and it succeeds in pretty much nothing of it. Plus, it does what i really hate - tries to pretend it knows more than the viewer with its half-hints and comments impossible to approach and connect. The entire atmosphere is uninteresting, it drags too much. The circular end is expected but it's still one of the best parts.
Beautifully shot, some striking imagery, but in the end becomes a little bit tiring to watch the protagonist chase her shadow throughout the house. Anyway a must see for everyone interested in the psychological aftermath of the Greek dictatorship.
This fits in well with the Greek weird wave. It's another version of Hell. Claustrophobic, it reminds me of 'Repulsion'. It also evokes a Kafkian sense of frustration. It's absolutely gorgeous cinematography.
3 and a half phone calls. Director of Photography Giorgos Panousopoulos and on screen Euridice (Vera Tschechowa) are having an unabashed love affair within the glass optics of emotion's camera, both unaware of any other being, real or mythical as they revel in sordid mimicry. Their intimacy is a black and white revelation of transference from the heights to the deep basement of feverish recreation.
I love Nikolaidis' writing, but I started to lose interest in Morning Patrol when the dialogue finally comes in around the 40? minute mark. It's still an excellent film and a first tier Nikolaidis film(I love them all except The Zero Years, which I merely like a lot)