Screenwriters: Athina Rachel Tsangari, Joslyn Barnes

Producers: Joslyn Barnes, Viola Fügen, Rebecca O’Brien, Athina Rachel Tsangari, Michael Weber

Filmmaker Athina Rachel Tsangari in person!

Part of Worlds Apart: The Films of Athina Rachel Tsangari, a retrospective of the Greek director’s films presented by Acropolis Cinema and MUBI and running from April 17 through mid-May at 2220 Arts + Archives, Vidiots, and the Los Feliz 3.

Greek filmmaker Athina Rachel Tsangari, who deconstructed human behavior within bounded communities in Attenberg and Chevalier, sets her sights on entirely new environs in Harvest, which takes place in a remote village in medieval England. Adapted from the acclaimed novel by British writer Jim Crace, Tsangari’s film stars Caleb Landry Jones as Walter Thirsk, the former childhood friend and manservant of the village’s weak-willed landowner, Master Kent (Harry Melling). Marked by superstition and the scapegoating of outsiders, the town’s denizens fall under new threat after Kent’s iron-fisted city cousin comes into possession of the land, with new plans for agricultural profit. Shot in the sun-dappled Scottish countryside with natural light by cinematographer Sean Price Williams, Tsangari’s most ambitious work to date is both carnal and cerebral, a multifaceted reflection on man’s relationship to the land, rich in atmospherics and thematic resonance. (NYFF)

“An audacious, savage carnival of a film.” —Jonathan Romney, The Financial Times

“[A] vigorous, yeasty period piece… transfixes as a whole-sackcloth immersion into another time and place.” —Guy Lodge, Variety

“Dreamy, hazy and phantasmic, vacillating between extreme beauty and something approaching folk horror.” —Alissa Wilkinson, The New York Times

“Stands strong and tall, a work solid as an oak. Full of a sensual love of nature and a distinctive vibe, it’s tangy like a home-brewed ale.” —Leslie Felperin, The Hollywood Reporter

“Fundamentally a work of political cinema, a social archeology of the emergence of capitalism—of the depravities of modern economics and the inherent injustices of its legal premises.” —Richard Brody, The New Yorker