Brando with a Glass Eye

BRANDO WITH A GLASS EYE This movie really is as unique as they come. I've never seen a film that strikes such a fine balance between wacky, gritty and bazaar.

A journey of redemption packaged in a character portrayal that will leave you constantly guessing about the next twist and turn.

Even so, my favorite part of this little gem is the number of layers it seamlessly keeps unraveling.

If you like your films with hidden intellectualism permeating throughout the dialogue, then you really need to see this sophisticated yet complex masterpiece; it will leave you breathless and it will leave you begging for more.

Brando with a Glass Eye is a sumptuous feast that satisfies all the sense. Whilst this is the first feature film from Tsonis, you wouldn't know it. It hits all the right notes. It is the same kind of joyful assault as a jump into crisp ocean water on a scorching hot day.

Luca (main character) yearns for a return to the Hollywood Golden Age. He dreams of moving to New York and walking in step with Brando. He has an opening, but life has other plans. We walk alongside Luca as he desperately tries to wrangle life to fit his dreams. Seemingly wild moments are brought back down to earth with the realisation that any one of us is only a few questionable decisions away from being in Luca's shoes. It is at once astounding and relatable.

Luca confronts the kind of inevitable hurdles thar face all of us in our pursuit of our dreams. His challenge is to alchemise this pain, and transform it into something beautiful. He doesn't always succeed. Yiannis Niarros (who plays Luca) ate and left no crumbs. He effortlessly serves main character energy.

Tsonis worked closely with composer Alexandros Livitsanos to craft an entirely original score that graces nearly all 122 minutes of the film. Composed in Melbourne and Europe the score was composed in Prague. It fuses symphonic and cinematic classical music, layered with jazz like trumpets. The music underscores the grandeur, emotional arcs and mythic scale of the narrative. It is a work of art in itself.

The temperature of Tsonis' direction runs hot. He gives enough direction to guide his actors and bring his vision to life, but permits enough freedom that they can pour themselves fully into each scene. It is a collaboration. The film is a resolute love letter to actors.

If this richness sounds intimidating, it isn't. Tsonis and (long time producer) Spanos do the heavy lifting for us. We can just sit back and enjoy the show.

I had no idea what to expect, but the title and synopsis were intriguing enough to draw me to the theatre. It's honestly hard to believe this is a debut project. The film is finely crafted venturing out of text book approaches enough to keep you perpetually engaged but not so much as to be alienating. Great locations, subtle and interesting cinematography, clever script, committed performances and an overall edgy, and sometimes endearingly quirky, premise. I wish I could say even half of this for what comes out of Hollywood and the mainstream nowadays. This is the sort of creative endeavour we should be focusing our attention on instead of wasting it with mass consumer entertainment.

I absolutely love this film for its uniqueness, bravery, and the profound journey it offers to cinema and acting enthusiasts. This film stands apart from anything I've seen, inviting us on a wild and wacky journey that, if embraced, becomes a deeply rewarding experience. Its layers of complexity are both profound and captivating.

The film's narrative centers around Luca, a method actor in Athens with a burning passion and an undying dream to study Method Acting in New York. Faced with the challenge of funding his American dream, Luca, alongside his brother, daringly plots a heist. However, their plan spirals out of control when Luca accidentally shoots a passerby named Ilias. The plot thickens as Luca, ridden with guilt, visits Ilias in the trauma ward and forges a friendship, all while concealing his true identity. This unexpected bond between two starkly different individuals weaves an intricate and compelling story that unfolds-or rather, interlaces-before our eyes.

Antonis Tsonis, the Writer-Director, masterfully delves into the psychology and techniques of a method actor, offering a rare glimpse behind the curtains of this intense acting form. His direction brings to life the unseen intricacies of an actor's world, leaving the audience on the edge of their seats with anticipation.

I had the pleasure of experiencing this visually stunning masterpiece at the Slamdance Film Festival in Park City, Utah. The big screen truly did justice to the film's aesthetic beauty and artistic composition.

Brando with a glass eye is not just a film; it's an exploration of the depths of acting and the human psyche. It's a must-see for anyone who appreciates the art of cinema, the complexity of character development, and the beauty of an unexpected friendship.

Slamdance FF 2024 Greetings again from the darkness. This story from writer-director Antonis Tsonis is based in Greece, where we find two brothers in dire need of funds. Luca (Yiannis Niarros) is a talented actor who has just received notice that he has been accepted into a prestigious method acting program based in New York City. He needs money for the trip, the tuition, and living expenses. Alekos (Kostas Nikoulis) has a dream of starting his own business. The two come up with the not-so-brilliant idea of a heist to secure the necessary funds.

Predictably, the heist goes bad for these two (previously) non-criminals, and in the ruckus, an innocent bystander gets shot in the stomach. The brothers manage to get away without being caught or identified. Already burdened with the guilt of his mother's passing, Luca tracks down the gunshot victim, Ilias (Alexandros Chrysanthopoulos) and visits him at the hospital. These visits are a bit funny and quite uncomfortable - making them intriguing to watch. Soon, Luca and the well-to-do Ilias have formed a strange bond of unexpected friendship.

One of the entertaining pieces here is the Luca is always playing a role. Famed method actor Dustin Hoffman is referenced a few times via MARATHON MAN and DOG DAY AFTERNOON, as is the titular Marlin Brando (thankfully no scenes with butter). Luca's acting exercises make for good entertainment, as both Nikoulis and Chrysanthopoulos are excellent in their roles. We are told that theater is about giving everything to art, and Tsonis has done that with his first feature-length film.