Pigs on the Wind

It is a fine line between the tragic and the ridiculous, and this is exactly what challenges me most about this film. Pigs on the Wind constantly balances on that thin rope: around the film’s central idea – a man that makes a movie for pigs to see before their slaughter so that they taste better – grows an allegory so powerful that it might even be misinterpreted. What is the meaning of the artistic creation? Is the audience innocent? And, most importantly, how far can a man go to find his own voice? At first glance, Pigs on the Wind explores the delicate and savage world of the film industry with a funny twist. However, this is not just a movie about movies. In a local film market that is currently mostly preoccupied with the economic meltdown, I did not wish to refer directly to the overused theme, although the film resonates its allegory and impact rather clearly. Greece is in the forefront of a European crisis, it is not only a crisis of finances, but also one that challenges the value system established in the 20th century. When Thomas signs his Faustian contract with the all-mighty producer, he has to literally get blood on his hands in order to earn his living. The core of the movie lies in this very process, where Thomas will attempt to find out who he really is. Pigs on the Wind aspires to be a very dense film that, however, never loses touch with its surreal comic origins.