- published: 03 Dec 2015
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Costa-Gavras, (short for Constantinos Gavras or Κωνσταντίνος Γαβράς; born 12 February 1933) is a Greek filmmaker, who lives and works in France, best known for films with overt political themes, most famously the fast-paced thriller, Z (1969). Most of his movies were made in French; starting with Missing (1982), several were made in English.
Gavras was born in Loutra Iraias (Λουτρά Ηραίας), Arcadia. His family spent the Second World War in a village in the Peloponnese, and moved to Athens after the war. His father had been a member of the left-wing EAM branch of the Greek Resistance, and was imprisoned after the war as a suspected communist. His father's record made it impossible for him to attend university or emigrate to the United States, so after high school Costa Gavras went to France, where he began his studies of law in 1951. His father's political blacklisting not only barred him from Greek university, but, in the McCarthyite 50s, denied Gavras a visa for US film school.
In 1956, he left his university studies to study film at the French national film school, IDHEC. After film school, he apprenticed under Yves Allégret, and became an assistant director for Jean Giono and René Clair. After several further positions as first assistant director, he directed his first feature film, Compartiment Tueurs, in 1965.
Filmmakers Costa-Gavras and Marcel Ophuls discuss the nature of films with a sharp political edge, with clips from Costa-Gavras' films. Two internationally known directors who have made a specialty of films with an outspoken political edge discuss the values and methods in the genre, and the problems they have faced. Costa-Gavras was best known for "Z" and "State of Siege", and Ophuls for "The Sorrow and The Pity" and "Sense of Loss" when this conversation -- illustrated with film clips -- was produced. Costa-Gavras' film "Special Section" had just been released. Costa-Gavras' films, though based on real facts and issues, are scripted and professionally acted. Ophuls' work is documentary in style. They address such themes as the difference between "objective" and "subjective" truth, and their personal motives for choosing this form of film art.
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