example of VOD as a platform for smart, artfully crafted films

By JOHN PAUL KING

Describing the gestation process for his movie as he experienced it within his own mind, Massalas says that “The colors were saturated, and the feelings were sometimes red, sometimes blue, and sometimes they smelled of gasoline. There were dancers, there were thieves, and Athens was a sunlit stage where monuments of the 20th century stood glorious and rusty.” All that sounds very raw and haphazard, and perhaps more than a little pretentious, like a fledgling author’s ambitious-but-unfocused vision for the “Great American Novel” (or, in this case, the “Great Greek Novel”) they are passionately planning to write.

Yet incredibly, it’s a description that captures to perfection the essence of the film he crafted from that vision, and perhaps even conveys more useful information about it than any plot synopsis might ever be able to do.

Nevertheless, simply as a matter of form, we’ll venture to offer one. “Broadway” is the story of a band of performers, pickpockets, and small-time thieves who form a little family of outcasts living in an abandoned entertainment complex – the “Broadway” of the title – while putting on shows in the streets and stealing unbeknownst from the audiences who gather to watch them. It’s told from the perspective of Nelly (Elsa Lekakou), a strip club dancer on the run from her wealthy and controlling family who is drawn into the group by its charismatic mastermind, Markos (Stathis Apostolou), and finds a heaven from her “pitbull” of a stepfather and the gang of thugs he employs to keep her in check.

Nelly, however, is no naïve victim in need of rescue – though she claims to be accustomed to playing that role – but a resourceful and headstrong young woman more than capable of surviving by her own wits in the mean streets of an economically-ravaged Athens. Her talents as a performer quickly make her invaluable to the ragtag cadre under her new protector’s autocratic reign, and though she assumes and accepts the special status afforded to her as lover and muse to her new protector, she also wins the loyalty and affection of her new cohorts as easily and completely as she gains the trust of Lola, the allegedly vicious and rabid monkey they keep locked in a cage as a sort of unofficial and unappreciated mascot.

Lola is not the only confined member of the Broadway clan, however; a mysterious, badly beaten fugitive named Jonas (Foivos Papadopoulos) is being kept in a storage room, locked away as he recovers from his injuries and hides from the powerful underworld kingpin who wants him dead. As he returns to health, his presence becomes a dangerous liability – until Nelly hits upon an idea to keep him hidden in plain sight by turning him into Barbara, her partner in a two-woman dance act and the newest member of their troupe.

From there, “Broadway” launches into an ambitiously sweeping narrative that feels like equal parts film noir and Charles Dickens as it takes us into a colorful and morally ambiguous underworld, created by economic disparity and filled with shadowy figures and secret alliances, then bursting improbably forth into a gender-bending musical before finally moving into Hitchcock territory for a thrilling third act “caper” scenario made even more suspenseful by the shifting loyalties between its leading players. We don’t like spoilers, but we’ll just say that the question of whether there is “honor among thieves” is key to the story’s endgame. Massalas, a London-educated Greek filmmaker with an impressive catalogue of short films, has scored a long list of prizes at international festivals including Cannes, AFI Film Fest, and Locarno, where in 2016 he was selected as one of the most promising new directors in the world. For his feature debut, he received support from the Greek Film Center and the Sundance Institute; with that kind of artistic pedigree behind it, it’s no surprise that “Broadway” is a deeply, almost ecstatically cinematic piece of work.

Richly visual, it evokes filmic echoes not only from the influences cited above, but from directors like Fellini, Jodorowsky, Godard, and Marcel Carné – whose epic theatrical romance “Les Enfants du Paradis” seems almost baked into its core. Yet while it may contain plenty of nods, intentional or otherwise, to past masters of the medium, it never feels stodgy or over-reverent, and audiences coming at Massalas’ movie from a less scholarly perspective will find plenty to appreciate in his own bold, artfully eclectic style – and everyone is sure to approve of his abilities as a storyteller, which enable him to pack an entire epic’s worth of plot, complete with nuanced layers and deeply-drawn character development, into a just-over-90-minute movie without ever making it feel rushed.

Yet even with all that art packed into it, the thing that makes “Broadway” a standout entry in the VOD film market is its queerness. Not only does it hinge on a cis male character donning drag, it also features a gay couple (Rafael Papad and Salim Talbi) in significant roles as members of the gang. More important, perhaps, it never uses its potentially offensive “man-hiding-out-in-drag” premise to get cheap laughs or set him up for humiliation or ridicule. On the contrary, it quickly becomes clear that Barbara is more than a disguise for Jonas; she’s an empowering influence, and he blossoms with the transformation. Is he straight or gay? Trans, gender fluid, or just a drag queen? The movie never really tells us, and in fact seems to disregard it as irrelevant. It’s an ambiguity that feels comfortable rather than challenging, and makes his romance with Nelly – along with the steamy sex scenes that come with it – somehow even more hot.

There are a few quibbles that could be made about Massalas’ film; there’s some heavy-handed foreshadowing that makes a few of its twists more predictable than they might be, and it sometimes wallows a bit too much in its symbolism. Still, in context these elements are part of the cinematic ride he takes us on, and he provides enough unexpected surprises in other areas to make up for any perceived missteps along the way. With a universally excellent cast, grounded by Lekakou’s solid, confident turn at the center of it all, “Broadway” is yet another example of the growing promise of VOD as a platform for the kind of smart, sophisticated, artfully crafted film content that just doesn’t get shown in movie theaters in post-pandemic America.

That said, “Broadway” would undoubtedly look great on the big screen, and if you’re lucky enough to be in a place where it’s on one, it’s worth making the effort. If not, don’t let that stop you – it looks pretty great on the small screen, too.