Kirpianuscus it is a masterpiece. sure, it is a subjective word and it is not easy to define it. it is a masterpiece because it has the science to give the emotion and spirit and tension of the play Iphigenia in Aulis. it is a masterpiece for the impressive performance of Irene Pappas. it is a great film for its unique, touching and admirable for the right manner to give life to a classic text. and for transform it in a personal story, beautiful and provocative and wise pledge for the discover of the roots of the right answer. a masterpiece. that is it.

ricbigi My only regret is that Michael Cacoyannis did not have a large enough budget to give his film the production values that one would expect from a story of such grandiose proportions. He does what he can with the resources available, and that is quite sufficient, but I would have loved to have seen life-size ships instead of small boats as the Greeks are waiting for their departure from Aulis. In the end, however, the artistic quality of his work is so high that nothing else matters. The Euripidean text is more than adequately translated into film. The actors are all superb. My joy at seeing their work is immense. Irene Papas has to be one of the greatest actors in the history of film. Her Clytemnestra makes one understand what lies in the future for Agamemnon. Eugène Ionesco loved this film. I can see why.

Armand Subtle masterpiece and precise recreation of Euripides tragedy.Delicate art and science of light's exploration. And a great casting.Same atmosphere of old Greek period, same taste of secret, duty and sacrifice. And the splendid music.But the power of film consist in Tatiana Papamoschou's androgen's. A delicate acting and form of cult . Noble homage for basic human values. And Irene Papas- part of his character.Principal merit of film is gentle protection of skill. The tension of silence, the deep force of gestures.So, "Iphigenia" is more of a beautiful movie. It is a gorgeous "memento mori".

treagan-3 I only saw IPHIGENIA once, almost 30 years ago, but it has haunted me since.One sequence particularly stays in mind, and could only have been fashioned by a great director, as Michael Cacoyanis undoubtedly is.The context: the weight of history and a mighty army and fleet all lie on King Agamemnon's shoulders. An act of sacrilege has becalmed the seas, endangering his great expedition to Troy. He is told he must sacrifice his daughter Iphigenia to Apollo in order to gain the winds for the sails of the Thousand Ships. He initially resists, but comes around, and tricks his wife Clytemenstra to bring their daughter to the Greek camp in order to marry the greatest of all warriors, Achilles.Clytemnestra and Iphigenia arrive, find out about the sacrifice, and rage to the gods for protection and vengeance. Meanwhile, the proud Achilles discovers that his name has been used in this fraudulent, dishonorable way. He climbs a hill to tell Iphigenia that he will protect her.The shot: The camera circles the two young people, without looking directly at each other. They bemoan their fate, and the weakness of men that deceive their loved ones and lust for war. Suddenly, they gaze at each other and, for one moment, we feel both their power and beauty, and the unstated--except by the camera--irony that in another time, another place, they perhaps could love each other and be married. It is a sharp and sad epiphany that lasts only for an instant.What direction! What camera! What storytelling!