It might be hard to be believe, but the film pushes boundaries even further than its progenitors. Two scenes in particular late on left audiences gasping, and risk being seen as exploitative. We think that they were just about justified—asking questions about what is the breaking point, underlined by the very ending—but they may well be moments at which many audiences are left behind.
Those for whom the film isn't spoiled, however, will be left with one of the most powerful experiences we've had in a theater for a long time. On the back of a brace of impeccable performances—Panou's complex, brutish, but not unloving father figure looks to be a frontrunner for Best Actor here in Venice, while Rossinou's Stepfordish mask hiding an innocence she was never allowed to hang on to for long is particularly memorable—Avranas makes a claim to be considered among the top ranks of international filmmakers. If enough people can stomach the film, anyway... [A-]