Miss Violence (Alexandros Avranas, 2013)


A gruelling, claustrophobic and bleak document of sexual violence and domination amongst the Greek petit-bourgeois in the face of the recession, Miss Violence can most easily be summarised as “Dogtooth without the existential comedy.” This acts both as a positive and a negative for the film: on the one hand, this leaves the spectator with nothing to protect them from the grim reality of the action onscreen; on the other, it does place a great onus on the content’s ability to affect the spectator as the main engine for the film’s narrative. Personally, I struggle to imagine anyone who wouldn’t be affected by the content and, thus, the film certainly works. However, the way it is portrayed as something of a “reveal” in the final act is a bit of a stumper, given that I can’t imagine there’s any doubt in anyone’s mind as to what’s been going on up until then. The grim ambiguity of the ending does work entirely in the film’s favour though and I imagine I shall, at some point, watch it again, though I’m not entirely sure for what purpose when I do prefer Dogtooth.



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