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We live here a whole host of powerful and varied events that tell the story of a man who is happy only when he is unhappy, a man addicted to grief, that man who tries to raise the compassion of everyone. He is a man who is willing to do anything to cause depression and sadness from others. Maybe in the end it did not change as it seemed to be the life of a man in a world that was not tough enough for him.
As stylized as Makridis' second feature is, it's grounded in recognizable behavior, and its sly, dry playfulness reverberates with fascinating questions about emotions and how we portray them.
The Greek Weird Wave's tendency to be uncompromising towards the audience is to be expected, and the cruelty that eventually emerges in Pity is unfortunately pretty predictable thanks to the brutality present in both The Lobster and Dogtooth.
Sharp-witted and entertaining throughout, with a cute final scene that will come as a relief to many viewers, Pity is a polished piece of filmmaking and well worth looking out for.
The situations are hilarious and horrifying all at once, the winning combination that makes every moment feel like a metaphorical punch in the gut... exactly the way our protagonist would like it.
A delightfully nasty piece of work, refusing to let either the lawyer or the audience off the hook as Makridis keenly observes how expressing sympathy has become ritualized to the point it no longer has meaning.
A disturbing and oftentimes very funny satire-drama, Pity is about that complex, primal human craving called empathy and the distance we're willing to go to summon it.