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As Ashraf Idriss (Ziad Bakri) house sits for a wealthy couple in the mountains, Blind Sun brings multiple threats both imaginary and real as he attempts to keep his sanity and his cool.
A startling metaphor for both global warming and the erupting refugee crisis in Europe, this Greek tale is a mix of arthouse immersion and mystery flick, dominated by a slow-cinema style that’s either loved or hated. For those afraid of slow cinema (like myself), Blind Sun is a well-paced affair, and at only an hour and a half long it doesn’t leave you yearning for death in usual way of a 3 hour slow cinema epic. Thankfully it’s far from your usual piece of slow moving cinema.
Although very little happens in Blind Sun, it builds its intrigue well, introducing and answering questions well, building the character and the scene as it progresses. Social unrest, police state and unbearable heat create a mental state of confusion in Bakri’s character. Bakri delivers a strong and powerful performance as a man drifting, and gives a performance with the strength to hold the viewers interest during this plodding tale. Joyce A. Nashawati, who directs this tale brings some steady and beautiful shots and with an excellent capture of light creates an ever pervading sense of oppression both politically and physically.
Blind Sun is not a unique film, but it has subtle differences that for me make it stand out from the crowd. Its length keeps it entertaining and interesting, whilst it’s beauty captures the mind. Most importantly there is a subtlety in Blind Sun that is powerful. This is a film well worth watching and I would recommend it to all.