A journey through grief: Exploring the haunting world of ‘Arcadia’
A peculiar arrival in Marathon
When Katerina (Angeliki Papoulia) and Yannis (Vangelis Mourikis) arrive in the eerie resort town of Marathon, they are greeted by a “Welcome to Marathon” flyer. This seemingly innocuous greeting sets the stage for the unsettling journey that unfolds in Yorgos Zois’ second feature film, Arcadia. This film delves deep into the themes of grief and loss, offering a unique perspective that will captivate fans of the Greek Weird Wave. However, it may not be the ideal choice for those seeking comfort in their cinematic experiences.
A ghost town in the off-season
The core of Arcadia lies in its literal interpretation of Marathon as a ghost town during the off-season. Tourists come and go, but the residents who cater to their whims are left feeling trapped in a purgatory of sorts. Katerina and Yannis are not here for a vacation; they are here to identify a body, believed to be their daughter’s, after a tragic car crash. Instead of staying at a hotel, Yannis insists on taking over the now-vacant rental home where the deceased was booked. This decision, meant to provide answers, only raises more questions.
The unsettling company of Nikos
As the couple grapples with their grief, Yannis turns to self-prescribed pills, while Katerina accepts an invitation from a local teen, Nikos (Asterios Rimagmos Rigas). Nikos takes her to a bar known as Arcadia, where the patrons are all naked. However, this is not the most disconcerting aspect of the night. Nikos confesses that he would be nearly 40 now if he hadn’t died in the house where Katerina and Yannis are staying. Another ghost tells Katerina that it is the living who haunt the dead, not the other way around. The residents of Marathon, both living and dead, seem to exist in a state of limbo, unable to move on.
The blurred lines between the living and the dead
The film’s conceit works well, thanks to the conviction of the entire cast, particularly Papoulia, a veteran of Yorgos Lanthimos’ early features like Dogtooth and Alps. Katerina faces more stumbling blocks than Yannis, moving at a different emotional and physical pace. Stark, arresting visuals by director of photography Konstantinos Koukoulios and Peter Dundakov’s ethereal score add a crisp chill to the film. However, Zois and co-writer Konstantina Kotzmani withhold details for a big reveal, making it difficult to establish stronger ground rules in the film’s liminal space.
The shared burden of history
As Katerina returns to Arcadia in broad daylight, she learns that two bar patrons can sit side-by-side in the afterlife, despite a violent land dispute that led one to stab the other multiple times. The dead and the living appear to be in lockstep, sharing a burden of history that prevents them from moving on. This shared burden is a central theme in Arcadia, highlighting the ways in which grief and loss can tether individuals to the past.
A novel approach to bereavement
Zois leans heavily on the notion that bereavement should be an odd and disillusioning experience. This original approach opens up novel ideas around the afterlife and the emotional baggage people carry when others pass. However, for all its promise as a provocation, Arcadia can be mildly frustrating for the same reasons it is intriguing. The film leaves its audience in a state of limbo, occupying a middle ground that is both captivating and disorienting.
Final thoughts
Arcadia is a film that challenges its audience to confront the unsettling aspects of grief and loss. Its unique approach and compelling performances make it a standout in the Greek Weird Wave genre. However, its deliberate ambiguity and disorienting narrative may not appeal to everyone. For those willing to embrace its peculiarities, Arcadia offers a thought-provoking exploration of the afterlife and the emotional weight of bereavement.
For more information and to watch the trailer, visit Arcadia.
Note: This article is a personal reflection and analysis of the film Arcadia. The views expressed are those of the author and do not necessarily reflect the opinions of any specific source or publication.