Makridis's protagonists-earlier an unnamed driver living in his car (L) and now a lawyer without a last name (Pity)-are middle-aged men leading stable lives-it would be difficult to find a better time for a nervous breakdown. The greatest challenge for this story is in reflecting reality through the eyes of an eternal malcontent. The main character (Yannis Drakopoulos), the father of a promising pianist, is a lawyer who provides his clients with advice and a shoulder to lean on. His wife is in a coma, but a caring neighbor makes sure the family doesn't go hungry. What catches your attention is Drakopoulos's deadpan performance. To prepare Drakopoulos for the role, the director gave him a box set of Buster Keaton videos and a couple of DVDs with films by Aki Kaurismäki, and the actor responded by maintaining a dour expression throughout the entire film. He chides his son for playing in a major key. He composes a lament, but he cries only when he realizes that he'll soon have a reason to sing it. The camera also doesn't want to cooperate with the protagonist. From his window stretches an "endless, depressing" view of a white-sand beach, a blue sky and a single palm tree in the middle. A similarly sleepy landscape-the exact opposite of Turner's paintings-hangs in his office. It's good that the frames sometimes break when knocked off.
Born in Kastoria in 1970, Babis Makridis is automatically included in the Greek New Wave. He earns money for his artistic projects by making commercials, which enabled him to make the short film The Last Fakir and two full-length features (L, Pity). Efthymis Filippou, the main screenwriter for Pity, earned a writing credit for all three films. Makridis swears that there is no Greek New Wave, only a group of friends who support one another. As he says, Athens is a small town.
2005 O teleftaios fakiris / The Last Fakir (short)
2018 Litość / Pity