Straub and Huillet take ancient Sophocles’ famous Greek tragedy, as interpreted by Brecht, and give it an austere ‘filmed theatre’ treatment that is minimalist, esoteric and occasionally forceful. 

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To be frank, I’ve never heard of Straub and Huillet’s longstanding filmmaking partnership until in recent weeks. 

The husband-and-wife duo seemed to have made films that were of an acquired taste, at least judging from my first foray into their filmography with one of their so-called more ‘accessible’ works, Antigone. 

Some of you historical literature buffs may recognise ‘Antigone’ as the famous tragedy written by Sophocles from ancient Greece. 

I don’t really know how to appreciate plays, but as far as this screen adaptation of Brecht’s interpretation of Sophocles’ work is concerned, it is as esoteric as it gets. 

Perhaps ‘screen adaptation’ is not the right term to describe this minimalist ‘filmed theatre’, as a small number of characters speak to each other in an open but empty amphitheatre. 

Are the actors rehearsing the play in modern times?  Or are we transported to millennia ago when something like this might have happened? 

Straub and Huillet were sneaky enough to suggest both by the end of the end credits in a not-so-subtle change of sound design, but perhaps more crucially, suggesting that whatever that transpired in the wise words of Sophocles was still as applicable in present society…

One that has been continuously ruined by the absolute power of the patriarchy, the law of the Father as it were, as rightful and forceful voices from the community and minority are silenced. 

Antigone’s desire to bury her brother who was slain in a needless battle, even if she were to defy the tyrant Creon through action and speech, speaks volume of the millions of women whose bold activism has sparked significant change over the decades, centuries, even millennia. 

Grade: B-

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