Eternity and a Day 1999

“Eternity and a Day” (1998) stands out as one of the most approachable films by Theodoros Angelopoulos. The narrative unfolds with the enchanting image of a grand old house, accompanied by the evocative strains of the film’s central musical theme. We hear a young boy’s voice-over, beckoning young Alexander to accompany him to explore “an ancient city under the sea.” With mischievous excitement, Alexander tiptoes past his parents’ bedroom, where muffled laughter can be heard emanating from within. He bursts outside onto a small wooden dock leading to the beach and joins his friends, shedding his shorts before all three plunge into the welcoming sea.

Quickly, the scene shifts to reveal Alexander, portrayed by Bruno Ganz](/actor/bruno-ganz), now an elderly man settled comfortably in an armchair. He is roused from his reverie by Urania, his dutiful housekeeper (Helene Gerasimidou). “This is the last day,” she gently reminds him, pressing for permission to accompany him to the hospital. In a moment rich with philosophical reflection, Alexander courteously declines her offer, expressing gratitude for her three years of dedicated service. After Urania exits the room, she returns momentarily to share one last intimate glance at him, ostensibly to remind him to feed his dog, before she discreetly departs once more. Alone, Alexander savors the last remnants of his coffee as the camera glides toward the balcony, revealing his dog resting and the expansive sea vista beyond. Fragmented echoes of the same music he played earlier dance through from a nearby apartment, prompting Alexander to ponder its mysterious origin.

As he takes his dog for a stroll along the harbor, Alexander’s thoughts turn to his late wife, Anna (Isabelle Renauld), and the unfinished manuscripts scattered through his life. His drive through the city leads him to encounter a young boy, portrayed by Ahilleas Skevis, clad in an overly large yellow parka, attempting to wash his windshield amidst the chaos of traffic. The fleeting moment of connection allows Alexander to rescue him from the hands of the police, inviting him into his car. Despite language barriers, a gentle smile exchanges gratitude between the boy and Alexander before the youth darts away, leaving us to ponder the depths of his name and history.

Upon meeting his daughter, Katerina (Iris Chatziantoniou), Alexander expresses his urgency to travel and requests that she care for his dog, a plea met with resistance as her husband prefers no animals in their home. This familial interaction opens the door to memories of a past love and unfinished projects, notably his intentions to complete “Free Besieged,” a revered poem by Dionysios Solomos. With a heavy heart, Alexander steps into a moment from the past, as Katerina reads one of her mother’s nostalgic letters, capturing the emotions of a time long gone.

The hours of the day unfurl his life experiences as he remembers chaotic family gatherings and the fleeting joys of each moment, bringing to light the sorrow of his unfinished growth. As he contemplates the imminent demolition of his cherished childhood home, the weight of nostalgia settles heavily upon him. His journey later intertwines with a gripping turn of fate when he finds himself witnessing the abduction of the boy in the yellow parka, leading him to a suspenseful rescue mission that uncovers the dark realities of child trafficking.

Their trek toward freedom soon disrupts, where a poignant moment reveals the boy’s fabricated tales of a safe haven beyond the border, igniting Alexander’s struggle with his own conscience and emotions. This thread of escapism propels both characters in search of connection, leading to a series of adventures that deepens their bond, filled with conversations that transcend language and delve into the intricacies of loss, war, and a shared longing for belonging.

As events unfold—ranging from spontaneous moments of humor during their travels to heart-wrenching scenes of farewell—the audience is drawn into a profound tale, culminating in a ritualistic cremation of the boy’s friend, echoing the themes of death and rebirth that persist throughout Alexander’s life. The resolution of their journey introduces contemplations on the essence of time, family relations, and the quest for meaning, all encapsulated within Alexander’s poignant soliloquies on life’s injustices.

In the film’s mesmerizing conclusion, a harrowing yet poetic return home evokes the haunting memories of his beloved Anna. An introspective closing scene illustrates the infinite connection between past and present, love and loss; as the voice of Anna resonates in harmony with his thoughts. Amidst it all, one question lingers—“How long does tomorrow last?” As Alexander, now alone, gazes at the sea, he softly whispers his longing: korphoula mou (my little flower), completing the cycle of eternal love and the day that lasts forever in his heart.