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film

Temenos 2016

Screening of Gregory J. Markopoulos’s Eniaios, 1947–91, at the Temenos, Lyssaraia, Greece, July 3, 2016. Photo: Linda Levinson.

THE FOURTH QUADRENNIAL INSTALLMENT of Gregory J. Markopoulos’s posthumous cinematic masterpiece, the eighty-hour-long Eniaios (1947–91), was projected on the first three evenings in July at the Temenos, an open-air cinema in a field outside the Arcadian village of Lyssaraia selected by the filmmaker in the 1980s. One night each was devoted to orders IX, X, and XI of the work’s ultimate twenty-two sections. Over the past twelve years, half of the film has been shown, roughly three orders at a time. Yet perhaps fewer than twenty of the more than two hundred pilgrims who came to Temenos this year had seen all the parts exhibited so far, for it was a young audience, two-thirds of its members first-timers.

A complex system of montage of imageless white and black leader in intricately permeating rhythms forms the matrix of the entire silent film. Into this matrix the filmmaker has inserted

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