“A seed that floats in the air, a whirligig, a love charm. This magnificent landscape, both hot and dry, is far from sterile; rather, the heat and dryness produce a distinct type of life, seen in the perfect forms of the wild grass and seed pods, the herds of goats as well as in the naked figure. The torso, in itself, and more, the image which it creates in this light. The sounds of the shepherd’s signals and the flute’s phrase are heard. And the goats’ bells. Imagine the bell’s clapper moving from side to side with the goat’s movements like the quick side-to-side camera movements, which increase in pace and reach a vibrant ostinato”. (RB).
“In Sotiros, there is an unspoken dialogue and a seen dialogue, The first is held between the intertitles and the images; the second is moved by the tripod and by the emotions of the filmmaker. Both dialogues are interwoven with the sunlight;s movement as it circles the room, touching each wall and corner, detached and intimate”. (RB).
“The details of the young actor’s face - his eyes, eyebrows, earlobe, chin, etc. - are set opposite the old buildings in the market quarter of Athens, where every street is named after a classic ancient Greek playwright. In this setting of intense stillness, sometimes interrupted by sudden sounds and movements in the streets, he speaks a single word, “teleftea”, meaning the last (one), and as he repeats this word, it moves differently each time across his face and gains another sense from one scene to the next, suggesting the uncanny proximity of eroticism, the sacred and chance”. (RB).