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His real reason for coming back, however, is to track down three long-missing reels of film by Greece's pioneering Manakia brothers who in the early years of cinema traveled through the Balkans, ignoring national and ethnic strife and recording ordinary people, especially craftsmen, on film.

Their images, he believes, hold the key to lost innocence and essential truth, to an understanding of Balkan history Thus he embarks on a search that takes him across the war-torn Balkans, a landscape of spectral figures and broken dreams, right to the heart of darkness: a damaged film archive in Sarajevo where his quest ends.

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A mai jucat în filme ca The Piano (regia Jane Campion), Bad Lieutenant (Abel Ferrara), Cop Land (James Mangold) și To Vlemma tou Odyssea (Theo Angelopoulos).

De asemenea joacă rolul detectivului Gene Hunt în adaptarea americană a serialului Life on Mars.

Mama sa, o evreică pe nume Miriam, s-a născut la Leordina, județul Maramureș emigrând mai apoi în Statele Unite.

A jucat în filmele lui Martin Scorsese, Crimele din Mica Italie și Șoferul de taxi, în The Duellists și Thelma și Louise - ambele în regia lui Ridley Scott, dar și sub regia lui Quentin Tarantino în filmele Reservoir Dogs și Pulp Fiction.

In spite of these minor shortcomings, Cinema of Flames will benefit those interested in film studies and Balkan Studies as a remarkable reference book on the institution of cinema in this region and a thoughtful commentary on the relationship of cinematic images and politics.

În 2007 și 2008, a participat la mai multe evenimente organizate în New York, pentru strângere de fonduri pentru familiile sărace din România.

Your registration has been submitted, you will receive an email with an activation link within a few minutes.

If you don't receive the email within 10 minutes, please check your spam folder or send us an email: [email protected] Greek-American filmmaker, known simply as «A», returns to his hometown in northern Greece for a screening of his latest controversial film.

Narrative and History," Iordanova discusses the self-image of the Balkans within a European framework as well as the Western cultural and political discourse that locates the Balkans at the periphery of Europe.

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