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Yiorgos Benos (Spyros): Son of Maria and Charalambos. He is oppressed and trapped in the model of the "tough" young man in the small society of the island. [1] Antinoos Albanis (Michalis): The island doctor. The reason he never left the island was his love for Sophia.
Yorgo Bacanos (Greek: Γιώργος Μπατζανός, pronounced [ʝeˈor. ɣos ba.d͡zaˈnos]; 21 September 1900 - 24 February 1977 [1]) was a master oud player and improvisational composer of Ottoman classical music.
The Counterfeit Coin (Greek: Ιστορία μιας κάλπικης λίρας, romanized: Istoria mias kalpikis liras, lit. 'Story of a fake pound'; also Η κάλπικη λίρα, I kalpiki lira, "the fake pound") is a Greek comedy-drama film, produced in 1955, written and directed by Giorgos Tzavellas and starring Dimitris Horn, Ilia Livykou and Vassilis Logothetidis.
Yorgos Lanthimos (/ ˈ l æ n θ ɪ m oʊ s /; Greek: Γιώργος Λάνθιμος [1] [ˈʝorɣos ˈlanθimos]; born 23 September 1973) is a Greek filmmaker. He has received multiple accolades , including a BAFTA Award , as well as nominations for five Academy Awards and a Golden Globe Award .
Giorgos, Yiorgos or Yorgos (Greek: Γιώργος, romanized: Giórgos) is a common abbreviation of the given name Georgios. Notable people with the name include: Notable people with the name include:
Attenberg is a 2010 Greek drama film, written and directed by Athina Rachel Tsangari. [1] The film was nominated for the Golden Lion at the 67th Venice International Film Festival [2] and Ariane Labed won the Volpi Cup for the Best Actress.
List of Yorgos Lanthimos awards Award Wins Nominations Academy Awards 0 5 BAFTA Awards 1 6 Golden Globe Awards 0 1 This is a list of awards and nominations received by Yorgos Lanthimos. Lanthimos is a Greek film and stage director, producer, and screenwriter. He received three Academy Award nominations for Best Original Screenplay for The Lobster (2015) and Best Picture and Best Director for ...
Richard Bernstein of The New York Times was unfavorable toward the work; he stated that there were "extraordinary scenes", but argued that "when the end comes, the viewer is left [...] with the vague unsettled feeling that, aside from gaining the knowledge that exile is emptiness, two and a half hours in the presence of much onscreen joylessness has produced little satisfaction."