Bureaucracy, xenophobia, and motherly love are the ingredients for comedy in this award-winner from Greece. Eleni Kokkidou stars as Haroula, a 68-year-old woman desperately worried about her son, civil servant Panos (Achilleas Chariskos). He’s been missing for two days, with his office simply piling paper work at his empty desk and refusing to answer his phone. A camera crew turns up at her doorstep wanting to ask questions about Panos, and Haroula cheerily believes this is a news crew hoping to bring attention to the disappearance. In reality, Panos is accused of fraud and the crew are making a documentary about his whereabouts. As they follow the trail, wild twists begin to appear.
The film thankfully avoids a lot of the mockumentary tropes, creating a story that feels authentic until the punchlines hit you. Initially revealing that a number of Greek civil servants disappear without consequence, the mystery unfolds through interesting filmmaking and a human focus. Everything in frame is designed to enhance the story, from Haroula’s chintzy home décor to the often-beleaguered crewmembers popping into shot. As such, when the tone shifts from hilarity to tenderness, it’s easy to follow as these are characters who feel familiar.
At the centre of much of the comedy is a discussion of xenophobia and racism in Greek society. The immigrant workforce is portrayed as unsung heroes, keeping things running despite being scapegoated and despised by many. It’s an interesting source of satire, and one that could be applicable to many other countries. An interesting twist on this is Michalis (Kevin Zans Ansong), a black taxi driver who seeks to help Haroula despite her outdated opinions. Michalis is Greek himself, but because of the colour of his skin is ostracised by some and patronised by others (he is courted by an all-white chapter of The Black Panthers). It’s a nuanced take on race that stands out in a film where many of the characters lean toward stereotype.
Kokkidou carries the film admirably, moving things forward with the force of a flustered busybody. Haroula’s reactions are often hilarious, shouting “Panos?” whenever her doorbell rings and having a sweet nature that somewhat softens her moments of prejudice. Julio George Katsis makes a fine straight man as Lefteris, Haroula’s wheelchair using son who is reliant on her care, but endured much of her absent mindedness as she occasionally neglects him in pursuit of his brother. He is primarily there for sight gags, but there is a fun back and forth to their interactions.
A smart movie cleverly told; Black Stone delivers an onslaught of comedy before ably switching gears into something more meaningful. through making you laugh, director Spiros Jacovides invites you to think.
Black Stone shows online for free throughout the entire month of December as part of ArteKino 2024.
