Dimitris Passas
Greek film-lover with a background in sociology, Heraclitus and Nietzsche
Born and raised in Athens, Greece, Dimitris’s infatuation with the art of cinema began in early childhood, when he, valiantly defying age restrictions, first came into contact with the work of renowned filmmakers such as Martin Scorsese, Stanley Kubrick and Francis Ford Coppola. His taste in film keep evolving during adolescence and Dimitris developed a fascination with mostly crime flicks originating from Europe, remaining distrustful towards Hollywood’s interpretation of the majority of genres.
As a bachelor student of Sociology, Dimitris learned to acknowledge and assess new aspects in filmmaking and became obsessed with the work of auteurs such as Michael Haneke and Pier Paolo Pasolini. His post-grad studies on Philosophy added another layer to his education and resulted in his thesis on the concept of play in the works of Heraclitus and Nietzsche. Nothing was the same anymore, and movies transformed from plain entertainment into a multi-dimensional experience appealing to all human senses.
In January 2020, Dimitris started writing about the movies he enjoyed in his own online magazine, Tap The Line. That’s in addition to reviewing books and television series. Lately, he became interested in writing on behalf of bigger outlets as a form of complementary work that goes hand-in-hand with maintaining his own at a certain level of quality. His first articles for DMovies signal a new beginning for Dimitris as a writer and the future seems to be both bright and promising.
Other posts by Dimitris Passas
A Day and a Half (En Dag och en Halv)
Swedish hostage drama morphs into confessional car journey, but this potentially gripping story is crippled by a poor script - out now on Netflix
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The film deity who knows it all!
Dimitris Passas looks at three dirty movies that breach the rules of objectivity by inserting an omniscient narrator, and injecting the story with high irony and humour
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AKA
French undercover agent thriller starring Eric Cantona and Adam Franco features intense fight scenes, but fails to deliver the emotional punches - now on Netflix
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Last Night of Amore (L’Ultima Notte di Amore)
Italian crime thriller about retiring officer investigating the murder of his best friend excels in cinematography, score and performances - from the Berlinale
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Fragments of Sorrentino
Dimitris Passas discusses some peculiar moments and facts in the life and the career of his favourite Italian director, revealing a multi-faceted artist who draws inspiration from many sources
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Samuel L. Jackson: Did I Stutter?
Featurette examines the life and the achievements of the prolific American actor, but fails to make any astute observations and any exciting revelations - now on VoD
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Mulholland Drive, Rashomon and Inception: the dizzying heights of “mise-en-abyme”
Technique borrowed from literature has given cinema unlimited potential to create multilayered and spectacular stories-within-a-story, and these three films are some of the finest examples
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Dirty, murky and grey: the beautiful crimes of Iceland
Dimitris Passas dissects five Icelandic crime dramas, suggesting that the climate and the landscape of the remote Scandinavian nation permeate cinemas practices and indeed the soul of the locals
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