“Bonjour, bourgeois” or undermining the realist convention in The Greek Weird Wave

The Greek Weird Wave is an ongoing cinema movement, some researchers state, which debuted with Kynodontas (directed by Yorgos Lanthimos, 2009), finalised – aesthetically speaking – once performance art was introduced in the film Attenberg (directed by Athina Rachel Tsangari, 2010). There are aesthetic links and links regarding conception between the above-mentioned directors, as the two films can be interpreted through the same critical device. Overcoming the aesthetic conditioning can be felt in the second internationally-produced film directed in 2015 by Yorgos Lanthimos, The Lobster, in which the first sequence, thought out as a prologue, is unique through the fact that the character in it does not reappear in the remainder of the film. Another director, who draws closer to a different perception of the real, is Babis Makridis through the films Oiktos (Pity) (2018) and Ornithes (I pos na gineis pouli) (Birds (or How to Be One)) (2020).