Despite the country’s recent tribulations, Greek cinema is thriving at the moment. Notably, such filmmakers as Yorgos Lanthimos are globally recognized for their movies, especially Lanthimos’ English-speaking ones, The Lobster, The Favourite and The Killing of a Sacred Deer together with his forthcoming sci-fi picture Poor Things.
Lanthimos’ works have emerged as the figurehead of the Greek New Wave (a.k.a. affectionately called Greek Weird Wave), which exemplifies overall disillusionment with regards to Greece’s society, economy and governance during the crisis period. Many Greek New Wave films often go unnoticed by the mainstream western media and outside Greece but they are increasingly becoming more interesting to watch particularly after Broadway.
Broadway marks Christos Massalas directorial debut who has had massive backing in putting up this movie. Before that he made shorts and was one among fifteen emerging directors worldwide selected at Locarno Film Festival 2016. His previous work was featured in short film competition for Cannes Film Festival showing his vast talent prior to feature length. The story of pickpockets surviving in Athens who come together when things aren’t going right is told by Broadway. Elsa Lekakou, Foivos Papadopoulos, Stathis Apostolou, Rafael Papad and Salim Talbi all appear in it.
Courtesy of Variety Magazine, Broadway specifically received support from both the Greek Film Center and Sundance Institute while on top of that Massalas was chosen for screenwriting labs for Cannes and Sundance respectively so as to create and develop it further. Branded as a film noir musical infused with social realism as demonstrated by its incorporation of dance routines and songs into its plot line. It screened at multiple film festivals around the world before hitting big cities in USA like New York or Los Angeles where it opened theatrically; Le Pacte bought rights for worldwide distribution.
To start off with, Broadway goes by a classical beginning as two characters, a man and a woman sit across each other. The jail holds the man with the voiceover in the final scene that shifts immediately to the past, back to what caused them to be there in that moment. As Nelly puts it, she keeps finding herself in terrible situations. Nelly was working at a nightclub as a pole dancer and trying to make ends meet. Her mother remarried to some wealthy man who is not her father referred to as pitbull by Nelly hence seeing her mother differently now as a monster. It’s one night at work when she meets Markos, the man she would later be sitting across from while he is in prison.
That very evening, Nelly’s mum sends some men whom she had hired before over for Nelly and they will bring her home with them. From the crowd she spots Markos who is usually among her best tippers but tonight he would save her from this past life of hers. Soon thereafter, they become lovers with him telling her that he wants her to come with him – his family live at Broadway.
In spite of Nelly thinking Broadway is in America, this Greek version of the same was actually located inside a theater complex that has been abandoned. Everybody there had come from different backgrounds: artists, robbers, fugitives. For Nelly like this it will be a new home since she has no place else where she belongs.
She has for some time found the right place to survive in. The family work as a unit whereby they use Nelly as a public spectacle while others pick pocket the onlookers who stopped to watch her dance on the street. However things start to change after a while when another member of the family begins joining Nelly during her dances on the street and changes their identity into a woman performing for street performance named Barbara instead of Jonas so as to escape from those who have hurt them to death and left them bloodied.
Their chemistry and energy as they are out on the street dancing together draws larger crowds each day. It’s just matter of time before he is caught by police taking wallets from people’s pockets and once Markos is gone, lust between Nelly and Jonas becomes dominant in their relationship with each other.
Broadway grafts aspects of film noir onto Athens, incorporating some traditional elements of that genre with parts drag culture through local LGBTQ+ community for more pertinent twists aimed at modern audiences. As we learn early about Nelly we realize that past never leaves us ever even if one thinks that person or thing will go forever. Some wonderful scenes happen throughout the movie when characters who are living in shadows for too long are caged can break out physical metaphorically speaking as shown with Lola, the monkey being taken out periodically when Markos is arrested.
Cinematography is one of its best features especially where music score comes in perfectly well timed moments on Broadway. Every frame feels deliberate and exquisitely cinematic whether it shows characters standing in an empty screening room now serving as their bedroom, or Nelly letting the family pet monkey out to dance with it while everyone else is asleep at night.
A camera does not shift its focus away from Nelly’s eyes except when necessary such as when Markos is being arrested or Jonas as Barbara goes once a week to a certain building for an unknown assignment. To add context and give more meaning to the events taking place on the screens, there is use of voice-overs from Nelly’s point of view.
However, the film seems to conveniently omit some important things which appeared relevant earlier on. Although Jonas ultimately changes into Barbara, her past remains teased throughout the movie and even used as a threat at some points.
But by the time Broadway is over, these shadows have never served as crucial turning points and merely turns to talking points that go beyond any sense of relevance. These fragmentary details are frustrating towards the end of the film, especially since they are mentioned repeatedly without being brought into play. However, even Nelly loses sight of her mother trying to find her after that initial search for her at the start of Broadway.
In addition, other aspects of this film go in line with its themes and tone. This movie takes place in Athens and it goes deeper than one would imagine regarding Greece’s gritty underbelly. Hence, LGBTQ+ relationships and fluid identity contribute significantly to the development of characters and their respective situations although it may not appear hilarious to oncoming police officers who will soon be crushed by a drag queen led group.
Gender discourse and analysis has much that needs to be unpacked throughout this movie. Two men living at Broadway are involved in a homosexual affair while Nelly becomes engaged progressively in a homosexual relationship having been enticed by Jonas’ move into Barbara.
Broadway is an alluring movie that makes viewers stay glued with anticipation for another look before revealing what happens next. In fact, it can be seen as the story about a family found through time or different circumstances where together they rise against a world they do not belong anymore which has ostracized them; including criminals, artists and dancers. In Greece however, hit hard by economic crises over recent years many people have no choice but make tough decisions just so as to survive till the next week.
However, that does not make them bad people — as shown throughout this film these characters simply want an opportunity to feel free for once and be peaceful within themselves. One thing is certain though: Christos Massalas is a director who should be watched out for in future. There is indeed some hope for Broadway’s creator since it exhibits lots of potential for an artist who is just starting out in the industry.
Watch free movies on Fmovies
