I am tired of writing, every time I see a film by N.N., that the creator is a very good filmmaker.
N. MIKELIDES - ELEFTHEROTYPIA
Sex, violence, rebellion. For me there’s nothing better.
Yes, the director repeats himself, but he does it so uniquely and with such an atmosphere that some should take a lesson.
T. THEODORPOULOS - THEMA
Perhaps the most extreme moment in his filmography. The end of the world.
D. DANIKAS - TA NEA
THE EXTRA-FILMIC EVENT
Beyond his narrative genius N.N.'s evolution turns his creations into significant (and) extra-filmic events.
"THE ZERO YEARS" is a chronology of the end of civilization and of urban institutions. Everything is illusion; everything is utopia and a trap.
ALEXIS DERMETZOGLOU (Read the complete review)
Greek cinema’s "naughty (?) boy" showed that he is also ageless and most of all consistent. His film “THE ZERO YEARS” is extreme, like Nikolaidis’ other films, but it reveals his consistency to a cinema in which he believes and persists, without backing down.
P. TIMOGIANNAKIS - ELEFTHEROS TYPOS
Nikolaidis' directing is especially austere, his frames tight and the life of the tragic women we see in the ramshackle house is nothing but the painful reflection of life in the outside world, not that which goes on just during the establishment of the new era, but the one after it has ended.
MIMIS TSAKONIATIS - NEMECIS (Read the complete review)
The pairs of opposite powers (those on the "inside" and those on the "outside"), having here lost the dividing line which could keep them at some prescribed distance, as in Eurydice, appear to be undiversified. And yet, as occurs with the exile in Solzhenitsyn's "One day in the life of Ivan Denisovich", who inwardly stands his ground with his daily silent resistance, the four women try to organize their private space even if it is without consistency, with madness, caginess, by scheming against each other and with passion.
TASOS GOUDELIS (Read the complete review)
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Email: nikos AT nikolaidis.org.gr