Pressestimmen

THE GUARDIAN (UK):
This extremely powerful and moving film is not in any way as worthy or sentimental as it sounds; like its Dostoevskian hero, does it take the easy path to final redemption. It also manages to avoid most of the clichés of the brutal prison genre: instead of the documentary realism that is usual with these subjects, it is beautifully shot and framed with a discreet use of music. The film owes a tremendous amount to the central performance by Durmishi, an Albanian actor whose handsome, torture features dominate almost every scene. Both he and the film could go on to achieve international success. Ronald Bergan

KATHIMERINI -Greece’s Leading Newspaper-:
English Edition Film Director Angeliki Antoniou created savagely beautiful and heartbreaking images. Her hero passes from crime to punishment, crying out his guilt, as in a Dostoevsky novel. It is one of the exceptional films at Thessaloniki’s grand festival this year. Spyros Payatakis

ELEFTHEROS TYPOS:
A very forceful film, with dense content, clear logic, cinematic ability and inner tension. Apart from the power of the scenes and the way she handles the negative hero, an Albanian murderer, the manner in which she leads him to catharsis is devastating. Panayotis Timogiannakis

ETHNOS:
In Eduart there are two key characteristics that we rarely see in Greek films: on the one hand there is a harsh sense of realism that rejects any beautification both visual and as regards the subject and, on the other there is a flawless pace in the tension and in every breath which keep the interest unrelenting. Robbie Eksiel

ELEFTHEROTIPIA:
A film that equals the best European films. Ninos Fenek-Mikelidis

CITY PRESS:
The film dynamites intolerance and racism, it carries the day with its multi-leveled truth and power and touches the most sensitive side of the audience. Costantinos Kaimakis

ATHINORAMA:
The best film of the Greek production. It was made with boldness and bravery. Babis Aktsoglou

CINEMA:
Angeliki Antoniou sweeps us along with her Dostoevskian hero on his journey to personal redemption. Her images are full of action, energy, honesty. Paul Lycourgou

HRONO (Russia):
The ideas of Dostoevsky are on the base of the Greek film ‘Eduart’ (director Angeliki Antoniou). The film is hard - the most time the hero is situated in the prison - but humanistic pathos is evident - only openhearted confession can soften the killer’s suffering. Lidia Sicheva

CINEMATEATRO (Italien):
The film is an excellent social document, partly dedicated to living in prison. From this point of view, it has some points in common with other works that dealt with the same subject. But the second part has an original expiatory-mystic cut. The best merit is the building up of the story: the director shows a great ability to keep the dramatic side of the events down and create passages whose development and conclusions are already clear, engrossing. Umberto Rossi

VARIETY (USA):
Pic nicely captures the hopelessness of life in late 90s Albania and , as Eduart, relative newcomer Durmishi does a fine job conveying the surprise of a young man discovering he still has sensitive areas in his soul. Jay Weissberg

TRIBUNA:
One film that you must not miss. Robert Goro

KULTURE (Russia):
When I was watching the film I forgot that I was a film critic. It was interesting to follow developments, disclosing of the character and how the director was leading us to its very interesting finale. It was so unusual, fresh and joyful in a contemporary film context. As it is perceived in ’Eduart‘, when dignity was a rule in the good old days for every film. Sergey Lavrentiev