Review: ‘King Otto,’ starring Otto Rehhagel

May 20, 2022

by Carla Hay

Otto Rehhagel in “King Otto” (Photo courtesy of MPI Media Group)

“King Otto”

Directed by Christopher André Marks

Greek, German and English with subtitles

Culture Representation: Taking place in Greece and other parts of the world, the documentary film “King Otto” features an all-white group of men who are connected in some way to Greece’s national soccer team of the 2000s.

Culture Clash: German soccer coach Otto Rehhagel, who had success in coaching German professional soccer teams, took a big risk to coach Greece’s national soccer team, which was on a losing streak for decades, to transform the Greek team into underestimated winners.

Culture Audience: “King Otto” will appeal mainly to people who are fans of soccer and underdog sports stories.

Otto Rehhagel (top center, in black and white outfit) in “King Otto” (Photo courtesy of MPI Media Group)

You don’t have to be a sports fan to enjoy the documentary “King Otto,” the inspirational story of how German coach Otto Rehhagel transformed Greece’s national soccer team from a group on a losing streak into international champions in the 2000s. It’s also a story of how people can overcome language barriers and cultural differences to succeed in common goals without losing their identities. “King Otto” follows a familiar documentary format for this type of story, but the thrilling archival sports footage and insightful interviews make this movie an engaging watch from start to finish.

Directed by Christopher André Marks, “King Otto” is also just the right length (82 minutes) to tell the story well without being too long or too short. At the center of the interview footage is Rehhagel, who has a compelling way that he shares his memories of how he took the Greek national soccer team from the bottom of the pack to the top of the heap. He was with the Greek team from 2000 to 2010. It’s a story of massive risk-taking and how confidence and the right teamwork can pay off to great rewards.

Most coaches who are at the top of their game with a championship and well-respected track record don’t decide to do an about-face to relocate to another country and coach a losing team. But that’s exactly what Rehhagel (a former soccer player himself) did in 2000, when he began coaching the Greek national soccer team. When Rehhagel took the job offer to coach the Greek team, he was a very famous soccer coach in Germany. He had the nickname King Otto because of his charismatic leadership qualities.

Rehhagel had his greatest success in German soccer as the coach of Werder Bremen from 1981 to 1995. During this time period, Werder Bremen was transformed from a modestly winning team to a powerhouse, winning German championships in 1988 and 1993, as well as the European Cup in 1992. Rehhagel left Werder Bremen to coach rival team Bayern Munich from 1994 to 1995, but it was a tumultuous change that resulted in Rehhagel being fired.

Rehhagel then moved on to manage the German soccer team Kaiserslautern from 1996 to 2000, to mixed results. The team won the German national championship in 1998, but that turned out to be the peak victory for the team under Rehhagel’s leadership. He resigned from Kaiserslautern in 2000. It’s no wonder, under these circumstances, that Rehhagel probably thought it might be good for him to do something radically different. And that’s when he accepted the offer to coach the Greek national soccer team.

In the beginning of “King Otto,” Rehhagel is shown looking around at an empty Panathenaic Stadium in Athens, Greece. In a voiceover, he makes this comment about why Greece appealed to him: “We admire the Greeks for their history. They have given so much to the world. I, as a German, had a special relationship with the Greeks.”

He continues, “And if someone had told me what would happen one day, no one would have believed it. We were outsiders in the entire world of football. But, as Greek history teaches us, the gods always have their own plans.”

Most of Rehhagel’s interview footage is of him in a room literally sitting on a throne, which was probably the “King Otto” filmmakers’ idea, not his. Although Rehhagel’s nickname is King Otto, he doesn’t put on pretentious airs. There are touches of arrogance in his storytelling. However, this pride isn’t so much about himself as it is about the collective pride that he feels about what he was able to accomplish with the team members who were widely underestimated and disrespected in the world of soccer until Rehhagel came along.

Greek National Team president Vassilis Gagatsis was the one who recruited Rehhagel for the job. Gagatsis says in the documentary: “I wanted to hire Rehhagel because I thought [Rehhagel] being a German, he would be able to instill the discipline that we Greeks lack.” Gagatsis describes Greek culture as a lot of partying and procrastination—two words that he said also could describe the Greek National Team at the time.

There were other problems too. Gagatsis remembers, “When I became president, the National Team was like a traveling circus.” By the time Rehhagel joined as the coach, the team still didn’t have its own training center. “The team had to wander around and beg local clubs to let us use their facilities,” adds Gagatsis.

Rehhagel (who was born in 1938) remembers that he was reluctant to take the job at first. For starters, he was in his early 60s, an age range when most people in his line of work are retired or plan to retire within a few years. Second, there was a language barrier, since Rehhagel did not speak Greek, and none of the Greek players spoke German. And third, there was no denying that it was going to be an uphill battle to transform an underfunded, perpetually losing team into winners.

But take the job he did. And it wasn’t easy, because Rehhagel’s strict and intense style clashed with the Greek players being accustomed to a more laid-back way of coaching. Rehhagel also refused to permanently relocate to Greece and maintained his home in Germany in those early years, thereby adding to the perception that he was just a visiting outsider. With tensions rising between the German coach and the Greek team, something had to be done to solve this problem.

Understanding that he couldn’t bridge the gap alone, Rehhagel recruited Ioannis Topalidis, a former soccer player who was fluent in Greek and German, to be Rehhagel’s assistant coach. In the documentary, Topalidis says that in his translations to the team members, he would “sugar coat” Rehhagel’s often-harsh criticisms to the team members. In other words, Topalidis would translate Rehhagel’s comments as being nicer and more humorous than what Rehhagel was actually saying. The trick worked, because Topalidis said the team started responding better to Rehhagel when they thought that what he was saying was more diplomatic.

Also interviewed in “King Otto” are several former Greek National Team members who worked with Rehhagel as their coach. They include midfielder Giorgos Karagounis, defender Georgios “Giourkas” Seitaridis, goalkeeper Antonios Nikopolidis and defender Takis Fyssas. Their interviews—along with the interviews of Rehhagel, Gagatsis and Topalidis—provide lively play-play-play recollections of some of the team’s best tournaments, including the 2004 European Championship. (David Beckham and Thierry Henry in their youth are included in the documentary’s archival footage.)

“King Otto” does what every good sports documentary does, even if you might already know the outcome of the matches shown in the movie: It makes you root for the protagonists, feel the pain of defeat, and rejoice in the glory of hard-won and well-deserved victories. It’s a well-edited documentary where the pace never drags.

There’s also even-handed mix of the archival footage and the interviews, all presented in a straightforward manner. “King Otto” does not make the documentary mistake of having too many talking head interviews. Some viewers might get a little emotional at the end of the documentary, which shows a sentimentally sweet moment when former coaching partners Rehhagel and Topalidis reunite at an empty Panathenaic Stadium to reminisce together about their best memories of the Greek National Team.

Sports are often indicative of how people overcome obstacles in other areas of their lives. Sports can teach people how it’s important not to get too conceited or too comfortable in life’s accomplishments. In this unique soccer story, “King Otto” also proves that it’s never too late to take bold risks in life; to mentor people who need mentoring; and to be willing to work hard to make seemingly unattainable dreams a reality.

MPI Media Group released “King Otto” in select U.S. cinemas, on digital and VOD on March 25, 2022.

Review: ‘The Lost Daughter,’ starring Olivia Colman, Dakota Johnson and Jessie Buckley

December 19, 2021

by Carla Hay

Dakota Johnson and Olivia Colman in “The Lost Daughter” (Photo by Yannis Drakoulidis/Netflix) 

“The Lost Daughter” (2021)

Directed by Maggie Gyllenhaal

Culture Representation: Taking place in Greece, England and Italy, the dramatic film “The Lost Daughter” features an all-white cast of characters representing the working-class, middle-class and wealthy.

Culture Clash: A British woman, who works as a comparative Italian literature professor, goes on vacation in Greece, where she has flashbacks of her troubled background as a young mother, after she encounters a young mother from a boisterous Italian American family who are staying in the same vacation villa spot. 

Culture Audience: “The Lost Daughter” will appeal primarily to fans of star Olivia Colman and expertly acted psychological dramas.

Jessie Buckley (center) in “The Lost Daughter” (Photo by Yannis Drakoulidis/Netflix) 

“The Lost Daughter” upends the stereotype that mothers depicted in movies are supposed to think that parenthood is the greatest thing that ever happened to them. Much of the discontent in the movie has to do with doubts and insecurities that mothers have when they find out that motherhood doesn’t make them as happy as they were taught to believe it would. The movie might start off looking like a mystery thriller, but it’s really a psychological drama that takes viewers inside the restless and uneasy mind of woman during a tension-filled vacation and how she affects other people around her. Olivia Colman anchors the movie with a memorable and intriguing performance.

“The Lost Daughter” is the feature-film directorial debut of Maggie Gyllenhaal, who wrote the adapted screenplay, which is based on Elena Ferrante’s 2006 novel of the same name. It’s a fairly faithful adaptation of the book, but the movie changes the nationalities of the main characters and the coastal vacation setting from Italy to Greece. “The Lost Daughter” benefits from cinematic elements (such as production design and music) that very much enhance the mood and emotions conveyed in the story. Just like in the book, the movie centers on a vacation that is fraught with some psychological torment and guilt over motherhood issues.

In “The Lost Daughter,” Colman portrays Leda Caruso, a 48-year-old university professor of comparative Italian literature. Leda is originally from England: She grew up in Leeds and currently lives in Cambridge. Leda is on vacation in Greece, where she is renting a villa during this trip. (In “The Lost Daughter” book, Leda is an Italian native who is a university professor of English and vacationing in Italy.)

Leda is divorced with two adult daughters: 25-year-old Bianca and 23-year-old Martha, who are not seen in the movie but whose voices can be heard when they talk to Leda on the phone. Ellie James is the voice of the adult Bianca, while Isabelle Della-Porta is the voice of the adult Martha. At different points in the movie, Leda has flashbacks to when her daughters were underage children. In these flashbacks, Jessie Buckley plays young Leda, Robyn Elwell plays Bianca at approximately 7 or 8 years old, and Ellie Mae Blake plays Martha at about 5 or 6 years old.

Leda is looking forward to spending some quiet and relaxing time alone on this vacation. Two of the first people she meets are Lyle (played by Ed Harris), the middle-aged caretaker of the villa where’s staying, and Will (played by Paul Mescal), an Irish college business student who works at the resort during the summer as a lifeguard and general handyman. Lyle and Will are both friendly and accommodating. Lyle mentions that he’s been the villa’s caretaker for the past 30 years.

Leda’s plans for a tranquil holiday become disrupted when her vacation becomes anything but quiet and relaxing. Not long after Leda finds a space on a beach to settle down and get some sun, a large and very loud Italian American family shows up and interrupts Leda’s peace and quiet. There are about 12 to 15 people in this group of raucous newcomers.

Two of them are a married couple named Callie (played by Dagmara Dominczyk) and Vassili (played by Panos Koronis), who ask Leda to move out of her spot on the beach to make room for some people in the group. Leda firmly says no. In response, a young man in the group calls Leda a derogatory and sexist name that rhymes with “punt.” Callie and Vassili walk away, visibly annoyed with Leda.

Needless to say, Leda and this family do not make a good impression on each other. From where Leda sits on the beach, she observes this family. Leda notices a strikingly good-looking couple who’s part of the group: They are Callie’s younger sister Nina (played by Dakota Johnson) and Nina’s husband Toni (played by Oliver Jackson-Cohen), who seem to have a passionate marriage, based on their public displays of affection. Nina and Toni have a daughter with them named Elena (played by Athena Martin Anderson), who’s about 5 years old.

Shortly after the awkward encounter with Leda, Callie approaches Leda again on the beach. This time, it’s to make an apology for the family being so rude. Callie brings a piece of cake as a peace offering, and she asks Leda about herself. Leda doesn’t really seem interested in making friends with anyone on this trip, but she reluctantly answers the questions, such as where she’s from and what she does for a living.

During this conversation, Callie is talkative and friendly. Callie says her family is from New York City, but they have other family members who’ve lived in this part of Greece for “300 years.” She mentions that she’s 42 years old and seven months pregnant with her first child, which the family already knows will be a girl. This talk abut motherhood makes Leda visibly uncomfortable. Leda comments to Callie: “Children are a crushing responsibility.”

During her observation of this family on the beach, Leda notices that Elena shows a strong attachment to a girl doll that Elena carries around. Elena also shows signs of possibly disturbed behavior because she bites the doll in an unusually aggressive manner. The doll and what happens next to Elena end up being the catalyst for most of what triggers Leda’s memories and actions during this trip.

While the family’s adults are partying on the beach, Elena suddenly goes missing. A frantic search ensues that takes a few hours, but Leda ends up finding Elena by herself in a wooded area near the beach. When Leda brings Elena back to her family, Leda is treated like a hero. But deep inside, Leda doesn’t feel like a hero.

That’s because Elena’s disappearance reignites a painful memory of when Leda’s elder daughter Bianca went missing on a beach when Bianca was about the same age as Elena. This memory and other things that happened in Leda’s past are presented as flashbacks in the movie. And that’s when it’s revealed that Leda didn’t really enjoy being a mother very much.

Slowly but surely, viewers find out how Leda was as a mother to two young children; what led to the demise of Leda’s marriage to her husband Joe (played by Jack Farthing); and what happened when a young Leda was accepted into grad school at a university in Italy. Gyllenhaal’s real-life husband Peter Sarsgaard has a supporting role as Professor Hardy, a charismatic professor of an Italian literature class that Leda took when she was in grad school.

Colman gives a compelling performance as Leda, who seems brittle on the outside but has emotional vulnerabilities on the inside. Elena’s doll and what happens to it are symbolic of clinging to youthful memories. As Leda’s memories from the past come flooding back, she also becomes increasingly caught up in what’s going in Nina’s life and the distress that’s caused when Elena’s doll goes missing.

At one point, Will warns Leda that Nina and her family are “bad people.” How dangerous are they? Leda finds out at least one big secret about Nina, who remains somewhat of a mystery throughout the entire movie. Buckley’s portrayal of a young Leda gives a necessary emotional depth to the older Leda, who wants to keep her inner turmoil hidden from the world.

“The Lost Daughter” is best enjoyed by audiences if people know from the beginning that this isn’t a movie filled with big action scenes or with any obvious villains. It’s a searing portrait of how one woman reflects on how she handled motherhood and how her personal encounters with another mother often feels like an eerie and upsetting reminder of the past. The title of the movie refers to a child who goes missing in two separate parts of the story, but the overall emotional arc is how a woman finds parts of herself that she wants to lose or forget.

Netflix released “The Lost Daughter” in select U.S. cinemas on December 17, 2021. The movie premieres on Netflix on December 31, 2021.

Review: ‘Monday’ (2021), starring Sebastian Stan and Denise Gough

April 21, 2021

by Carla Hay

Denise Gough and Sebastian Stan in “Monday” (Photo courtesy of IFC Films)

“Monday” (2021)

Directed by Argyris Papadimitropoulos

Some language in Greek with subtitles

Culture Representation: Taking place in Athens, Greece, the romantic drama “Monday” features a predominantly white cast of characters (with a few black people) representing the middle-class.

Culture Clash: A musician/party DJ and an immigration attorney, who are both American and in their 30s, meet in Greece, impulsively hook up with each other, and try to deal with problems in their relationship after they move in together.

Culture Audience: “Monday” will appeal primarily to people who are interested in watching the annoying shenanigans of a badly mismatched couple in an uneven, overly long movie that irritates more than it intrigues.

Sebastian Stan and Denise Gough in “Monday” (Photo courtesy of IFC Films)

If you’re in the mood to watch two American lovers in their mid-30s act like immature, self-absorbed partiers while living in Greece, in a shallow story that mostly goes nowhere, then feel free to waste about 115 minutes of your time watching this movie. The actors seem to be putting their best efforts forward to make their characters as realistic as possible, but it’s not enough to salvage “Monday,” which is bogged down by a meandering story filled with bad clichés that viewers might expect to see in a frat boy movie. “Monday” also needed better editing, because there are too many scenes that drag on repetitively.

Directed by Argyris Papadimitropoulos (who co-wrote the screenplay with Rob Hayes), “Monday” doesn’t tell a story as much as it strings together insufferable and often-dull scenes of a mismatched couple in Athens, Greece. It’s a movie about how two Americans meet in Greece, they quickly fall in lust with each other, and then they try to make their relationship work when they move in together after knowing each other for a few days. The biggest problem with “Monday” is that it’s more concerned with showing this couple’s antics instead of explaining why they ended up in this dysfunctional relationship.

The filmmakers of “Monday” might think the movie is “edgy” because it’s got full-frontal nudity (male and female), and it portrays people in their 30s acting like irresponsible brats in their early 20s. But “Monday” is just a series of rehashed stereotypes of any movie about young people who quickly hook up after they first meet. “Monday” director/co-writer Papadimitropoulos says in the movie’s production notes that the central couple’s relationship “is a very realistic take—maybe more than we can handle—on all relationships.” However, the “realism” that the movie is trying desperately to depict just comes across as very phony.

There’s even a “race to the airport” scene to stop someone from getting on a plane, which is an overused trope in movies about romance. It’s a trope that’s ripe for parody, but that “race to the airport” scene is in “Monday,” without any wit, irony or campy self-awareness. “Monday” has several of these types of lazy clichés littered throughout the film. Viewers who’ve seen enough of these types of movies will be constantly rolling their eyes at the cheesiness of it all.

The opening scene of “Monday” is a very “male gaze” trope of mostly attractive women (who might or might nor be intoxicated) dancing at a house party. The DJ at the party is named Mickey (played by Sebastian Stan), who is interrupted by the obnoxious party host Argyris (played by Yorgos Pirpassopoulos) because his friend Argyris wants to introduce someone to Mickey. Mickey is slightly annoyed at having to be pulled away from his work, but he obliges, because Agryis is technically his boss at this party.

Argyris (who is in his late 30s or early 40s) introduces Mickey (who is in his mid-30s) to a party guest named Chloe Gaines (played by Denise Gough), who’s also in her mid-30s but she mentions later in the movie that she’s older than Mickey. Before she meets Mickey, Chloe is seen drunkenly yelling into a phone to someone on the other line: “Fuck you, Christos!” It’s at this point in the movie that viewers can predict that Christos is her ex-boyfriend, and he’ll eventually show up in the movie. That’s because (cliché alert) movies like this always have at least one love triangle.

When Argyris introduces Chloe and Mickey to each other, he says it’s because they’re both American, as if that’s enough to make Chloe and Mickey compatible. In a very “only in a movie” scene, as soon as Chloe meets Mickey, she grabs him for a kiss, they start making out with each other, and they run out of the house together to have sex on a nearby beach. Meanwhile, Mickey seems to have forgotten all about the fact that he was in the midst of working as the party’s DJ.

The next morning, Mickey and Chloe wake up completely naked on the beach, and some families with young kids nearby express their shock and disgust. Someone has called the police on Mickey and Chloe for indecent exposure. Two cops (played by Michalis Laios and Mihalis Alexakis) are already at the beach when Mickey and Chloe wake up naked, so Mickey and Chloe get arrested and are hauled to a police station.

In the back of the police car, Mickey and Chloe introduce themselves to each other and tell each other their names for the first time. Yes, it’s that kind of movie. And apparently, Chloe and Mickey also forgot that that were already introduced to each other by Mickey’s friend Argyris.

At the small police station, the police chief (played by Giorgos Valais) on duty has this far-fetched reaction to the arrest: Once he hears that Mickey and Chloe are American, he asks, “Which basketball team do you support?” And he starts talking to them as if they’re having a conversation in a pub, not a police station. The police chief quickly lets them them go with no consequences and barely a warning.

Why? Because the filmmakers want viewers to think that when white Americans behave badly in other countries, it’s not only a privilege, it’s a right. At least that’s the attitude of Mickey and Chloe, as their boorishness gets a lot worse. Without giving away spoiler information about what happens later in the movie, it’s enough to say that this brush with Greek law enforcement won’t be the last time that Mickey and Chloe engage in illegal acts and have a run-in with the police in Greece.

The clichés continue about “irresponsible partiers in a movie.” Chloe finds out that she left her purse behind at the house where the party was held, so she asks Mickey for a ride back to the house. In the first of many signs that Mickey is floundering in his life, he has a motor scooter instead of a car. Chloe and Mickey go back to the house, but no one is there. Mickey calls Argyris to come back to the house so that Chloe can retrieve her purse.

The movie then has a somewhat dull stretch of Chloe and Mickey wandering around until she can get her purse. This self-centered couple actually spend some time asking questions about each other, but the information revealed is the bare minimum. It’s in this part of the movie that viewers will find out that Chloe is an immigration attorney who works on an independent contractor basis. She’s originally from the small town of Blanchester, Ohio, and has spent time living in Chicago. Chloe tells Mickey that she’s lived in Greece for the past 18 months, and she is moving back to Chicago in two days.

Mickey says that he’s originally from New Orleans, but he spent about 10 years living in New York City, where he was a musician in a band for an unnamed period of time. He’s been living in Greece for the past seven years. And he has a 6-year-old son named Hector, who lives nearby, but Mickey rarely sees Hector because Hector’s mother (Mickey’s ex-girlfriend Aspa Karas) had a falling out with Mickey. Mickey doesn’t go into details and will only say that trying to have a cordial relationship with Hector’s mother is a “work in progress.”

And during this “barely getting to know you” phase of their relationship, Mickey tries to persuade Chloe that she shouldn’t move back to the U.S. and that she should stay in Greece to be with him. Keep in mind, this is within 24 hours after they meet. Chloe hems and haws and acts offended that Mickey can be so presumptuous about what she wants and what will make her happy. But it’s not spoiler information to say that Chloe and Mickey end up living together, because their often-turbulent live-in relationship is about 80% of this movie.

“Monday” tries to fool audiences into thinking that Mickey and Chloe have a “love at first sight” romance, but any reasonable adult can see how the relationship is based mostly on sexual attraction, not true love. Mickey and Chloe say “I love you” to each other many times in the movie, but it doesn’t really appear to be that genuine. They’re saying it not because they mean it, but because they don’t want to be alone.

What made Chloe change her mind about living with Mickey? After Chloe and Mickey avoid jail time or any fines for indecent exposure, Chloe eventually gets her purse back, and she says what she thinks will be goodbye to Mickey. But then, that “race to the airport” scene happens, with Mickey running up to the metal detector area, just as Chloe has put her baggage on the conveyor belt.

Because Mickey isn’t a passenger with a ticket, a security officer is holding Mickey back as Mickey shouts at Chloe to get her attention. And the next thing you know, she’s moving in with Mickey. The only thing that’s slightly different about this moronic “race to the airport” scene is that it’s done fairly early on in the movie, instead of it being a typical climactic scene.

Part of the un-realism of “Monday” has to do with the huge gaps in Chloe and Mickey’s conversations before they move in together. Viewers never find out if Chloe or Mickey have ever been married or if they have any family members, except for Mickey’s son Hector. Chloe and Mickey are never shown asking each other these questions or talking about basic things people would want to find out about each other before they move in together as a couple. It’s one of many examples of how badly these characters are written.

And the entire time that Chloe knows Mickey in this story, she doesn’t seem curious to know anything about his son. She doesn’t even ask Mickey to see a photo of Hector. But there’s a whole section of the movie where Chloe tries to help Mickey get visitation rights to Hector. It’s all so “only in a movie” fake.

As for why the movie is called “Monday,” there’s a gimmick where many of the scenes start off with the word “Friday” in giant letters appearing on screen. The concept is that milestones in Chloe and Mickey’s relationship happen on a Friday. Chloe and Mickey met on a Friday. They also move in together on a Friday. You get the idea. And toward the end of the movie, something major is supposed to happen that will change Mickey and Chloe’s living situation. But that occasion (which won’t be revealed in this review) is scheduled to take place on a Monday.

Mickey lives in a two-bedroom condo that used to be owned by Argyris’ late grandmother, who had multiple properties that Argyris inherited. Argryis (who is Mickey’s closest friend) is weasel-like, crude and completely irritating. It’s implied that Argryis lives off of his family’s money because he doesn’t have a job, and his main priority is partying.

It’s easy to see why Mickey wants Argryis as a friend, because of all the perks that Mickey gets out of this relationship. It’s mentioned in the movie that Mickey gets to live rent-free in this condo. And as seen in the beginning of the movie, Mickey is hired to DJ at Argryis’ parties and can ditch the job whenever he feels like having sex with a stranger he just met at the party. The movie quickly fills up with examples of Mickey acting irresponsibly and facing no real punishment or consequences.

If people are wondering why Argyris has the same first name as the director of “Monday,” Papadimitropoulos explains it in the production notes: “The film was shot in places that I know like the back of my hand. The party where [Mickey and Chloe] meet is the same party I throw every year for my birthday. The beautiful island where they spend their first weekend together is the place I spent my last 25 summers and also the island I shot ‘Suntan’ on. Mickey lives in Kypseli—Greek for beehive—the bohemian and multicultural neighborhood of my youth. This is not only a cinematic game or an homage to places I love, it’s a way of making this feel even more personal.”

Personal? More like self-indulgent. Although “Monday” seems to have been inspired by Papadimitropoulos’ youthful memories, the arrested-development characters in the movie are just a little too old for their reckless antics to be considered endearing. It’s all actually quite pathetic.

Mickey hangs out with the type of men who think it’s funny to urinate or ejaculate in a woman’s drink without her knowledge, and then laugh when they tell her what she just drank. And since Chloe has no friends, Mickey’s friends become her friends. Most self-respecting adults would not want to be friends with people like Mickey and Chloe.

One of the more annoying aspects about “Monday” is how it wastes so much time on things that, at best, should have been deleted scenes. Chloe’s move-in day is a chore to watch, because viewers really won’t care about all the details of how Mickey got the truck to transport her furniture and other belongings. The movie spends at least 10 minutes explaining how Mickey got the truck. But apparently, that’s just an excuse to show Mickey and Chloe spontaneously pulling over on a street so that they can have sex in the back of the truck.

And viewers also won’t care to see an extensive segment showing how long it took to try to move Chloe’s favorite sofa into Mickey’s apartment. There’s visual repetition of Mickey and Chloe huffing and puffing while trying to move the sofa, and the sofa being dropped in frustration, because these dimwits refuse to accept that the sofa is too big to be carried up the narrow, winding staircase. (The building doesn’t have an elevator.)

Chloe whines about how it’s is her favorite sofa and she won’t abandon it. And yet, she apparently didn’t figure out early enough that the sofa was too big to be carried up the stairs. Instead, she wastes time trying to get someone to carry the sofa up the stairs, over and over. For an attorney, Chloe doesn’t have much common sense.

But then, later that day, after Chloe made such a big deal out of not wanting to get rid of her beloved sofa, she enthusiastically goes along when Mickey puts the sofa in the front of the building, he pours a bottle of liquor on the sofa, and lights the sofa on fire. This arson happens while Mickey has somehow gathered a lot of people to watch, like it’s some kind of bonfire party. And did we mention that he’s DJ’ing at this gathering too? It’s all just so stupid and contrived in this movie. The cops show up, but Mickey and Chloe run safely into their apartment with no consequences for committing this arson.

Mickey is fairly transparent about who he is, but “Monday” does a big disservice to the Chloe character by not giving her any depth or a real identity. She’s the one who makes the most sacrifices in this relationship, but the movie never gives any hints of why she has blown up her life to be in this dead-end relationship with Mickey. Chloe is given almost no backstory in this movie.

There are hints that Chloe is the type of person who worries about the future and likes to plan ahead. At one point in the movie, she says to Mickey if he ever asks himself, “What am I doing?” (As in, “What am I doing with my life?”)

Mickey flippantly says no, he never thinks that way. So what is Chloe doing with Mickey, who’s the epitome of an impetuous hedonist who only wants to live in the present? Opposites can attract, but there’s nothing in the movie that shows that these two have any real love for each other.

“Monday” tries to make it look like Chloe has somehow decided to get rid of her hangups after she’s met Mickey. But did she really? Viewers never find out what kind of person Chloe was before she met Mickey. There’s no indication of any past relationships she’s had, except with Christos (played by Andreas Konstantinou), who is depicted as a wealthy control freak.

Christos is not in the movie long enough to find out much about the relationship that Chloe had with him. Chloe doesn’t want to talk about Christos, and the movie doesn’t have flashbacks, but it’s inferred that she broke up with him. However, if Chloe ended the relationship with Christos because of his controlling nature, she’s jumped into another co-dependent relationship with Mickey. Most of what Chloe does in her relationship with Mickey is either cater to Mickey’s needs or enable his immaturity.

There are plenty of people whose careers are going well, but their personal lives are a mess. There are plenty of women who seem to have orderly lives but who have a pattern of going for “bad boys” who make their lives chaotic. Is Chloe that type of person? Viewers never find out. The filmmakers don’t want her to be a whole person. Her personality is essentially just a series of reactions to whatever Mickey says or does.

Based on things that are mentioned by people who know Mickey, it’s clear that he’s had an “I don’t want to grow up” attitude for a very long time, which explains a lot of things about how he lives his life. In one of the better-acted scenes in the movie, Chloe is sent by Mickey to have lunch with his ex-girlfriend Aspa (played by Elli Tringou), who is Hector’s mother, to discuss Mickey’s visitation rights for Hector. Aspa, who’s known Mickey longer than Chloe has, tries to burst Chloe’s bubble about Mickey, by warning her that Mickey is “a child.”

When Chloe speaks in glowing terms of how she and Mickey are in love, Aspa gives Chloe a reality check about Mickey’s selfishness. Aspa says that Hector speaks mostly Greek, but Mickey refuses to learn Greek and expects Hector to speak in English when Hector and Mickey communicate. Chloe brushes off this insightful information like a typical person in denial. Instead, Chloe chooses to think of Aspa as a bitter ex-girlfriend who’s jealous that Mickey has moved on to someone new.

It’s very telling that (1) Mickey would take the cowardly way out and not deal with the child visitation issue himself, by sending his new girlfriend to do the dirty work for him, and (2) Chloe was willing to do it. Can you say “doormat”? Later in the story, Chloe, not Mickey, comes up with the idea for them to learn a children’s song in Greek, as a way for Mickey to communicate with Hector in Greek.

The only indication that Mickey is making some attempt to be a caring father is that he has a room furnished for Hector, in case Hector comes to visit. Chloe knows that Aspa has denied visitation rights to Mickey, so Chloe volunteers to help Mickey with these legal issues, even though family law is not her specialty. In the meantime, Chloe wants to use Hector’s room to store some of her belongings. Mickey is very reluctant to allow it because of what the room represents. How this issue is resolved is an example of how awkwardly Chloe and Mickey have to navigate their relationship when they barely know each other.

While Mickey and Chloe are living together, Chloe decides to work from home until she finds office space. This arrangement turns out to be a hassle because Mickey, who makes some of his money by writing commercial jingle music, also works from home. Mickey’s home studio is in the living room, while Chloe’s “office” is in a room next door. It’s easy to predict some of the conflicts that arise.

There’s a tedious scene in the movie where Chloe and Mickey both have business meetings in their home with their respective clients at the same time. Not surprisingly, Mickey’s work involves playing music loudly, which disrupts the meeting that Chloe has with a man who wants to hire her for an immigration case. Mickey also gets into an argument with his client, who’s not happy with the music that Mickey created for the jingle. For some unknown reason, Argryis is in Mickey’s client meeting too, piping in with his opinions, even though Argryis doesn’t have a job and he has no discernable talent.

Chloe asks Mickey to keep the noise level down, but he barely does. Meanwhile, when Chloe finds out that the man she’s meeting with was referred to her by her ex-boyfriend Christos, she abruptly ends the meeting and tells this potential client that she can’t be his attorney. It’s easy to see that Chloe got upset as soon as Christos’ name was mentioned. Don’t expect this movie to give details on why Chloe and Christos broke up.

“Monday” gives a little bit more insight into Mickey’s past when his ex-bandmate Bastian (played by Dominique Tipper) shows up at Chloe and Mickey’s home, at Mickey’s invitation, because she’s in Greece to perform at a headlining show. Bastian is now a semi-famous solo artist who still lives in New York City. During their conversation, Bastian remarks to Mickey: “You’re not really happy unless you’re failing, and that’s why you left the band.”

It’s revealed that Mickey and Bastian used to be in a New York City-based band called Saint Claude. The band had a record deal and was doing pretty well, but Mickey quit toward the end of a successful tour. Mickey has some remorse, but not much. And it’s never explained why he quit, but it’s implied that he didn’t want to deal with any pressures that come with success. During her visit, Bastian tries to persuade Mickey to move back to the U.S. and work with her, but he immediately declines the offer.

After Bastian leaves, and Mickey and Chloe are lying in bed together, Chloe asks Mickey what Bastian meant by Mickey not being happy unless he’s failing. Mickey doesn’t really a straightforward answer, but he looks somewhat hurt and haunted, as if he knows that what Bastian said is entirely true. It’s one of the rare moments in the movie where someone shows some inkling of introspection.

But those moments are overshadowed by more shallowness and some drug-fueled antics. And, of course, there’s another cliché of a romantic drama that’s easy to predict the moment that Chloe is seen vomiting into a toilet in the middle of the day. And it’s not because she’s got a hangover.

Even without some of the insipid things that happen in this disjointed and wandering story, “Monday” fails on a very basic level of a romantic drama, by making the central couple so superficial. That doesn’t mean that they have to be likable. But viewers should feel like the couple can be relatable and that the romance is worth rooting for in some way, even if this duo is all wrong for each other. Chloe and Mickey’s romance is supposed to be the soul of this movie, but “Monday” is almost entirely soulless.

IFC Films released “Monday” in select U.S. cinemas, on digital and VOD on April 16, 2021.

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