Ancient Greek myths remain to this day an inexhaustible source of intriguing images and themes. They combine wondrous storytelling with symbolic associations that establish the collective unconscious of our civilisation. In this retrospective entitled "Cinemytholgy", our wish was to explore the winding roads taken by Greek myths and cinema (and theatre somewhat) in the 20th century. Our ambition is not to confirm the endurance of Greek mythology; that would be rather commonplace. Our main aim is to provide the springboard for ponderings on viewpoints, aspects and approaches to the eternal questions that have always been diffused through history.

It would not be too much of a risk for one to regard the Homeric epics, The Iliad and The Odyssey, as the perfect scenarios, but neither would such a view be very original. All the themes that have ever moved people are there in it: life, death, love, passion, war, betrayal, loyalty, defeat, victory, craftiness, cleverness, transcendence and travel. It's all there. The descriptions of the battles, the narrative of the adventure, the relations, the utopias, the denials seem to be -and are- unrivalled. Many centuries later, James Joyce's Ulysses will open this primordial circle once more. Art always takes refuge in Granddad Homer to mine further its dark and obscure agonies, to ponder on Drama from its very inception. The ancient tragedians -Sophocles, Aeschylus and Euripides- possess the ageless primordial material. Everyone returns to them, from Goethe and Shakespeare to Thomas Mann and Samuel Beckett. Antigone's stance, Medea's terrible dilemma, Prometheus' hubris and Oedipus' harsh fate are eternal themes where the questions about man, his nature, about darkness and light forever remain open and unanswered, treading the tightrope between religious consolation, sacred dedication and the turmoil of the human conscience.

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