Thanos Anastopoulos' sophomore outing, "Correction," spends a long time going nowhere in particular.
More realist than his debut feature, “Atlas (All the Weight of the World),” but much more thinly plotted, Thanos Anastopoulos’ sophomore outing, “Correction,” spends a long time going nowhere in particular. Vignette about an ex-con following a young woman — for reasons only divulged 70 minutes in — replaces the social alienation of “Atlas” with racial schisms as its theme. This is pure fest fare.Yorgos Symeoforidis (Yorgos Symeonidis) is a dour Greek in his early 30s who checks into a day center for former prisoners. He immediately starts tracking a young mother (Ornela Kapetani), who works in a restaurant and has a daughter (Savina Alimani). Both seem to know him, but she shrugs him off in the street; he responds by getting a job in the same eatery, run by an Albanian (Bujar Alimani). Meanwhile, Yorgos is hounded by some right-wing nationalist thugs he used to hang with. Portrait of a graffiti-scarred Athens nabe peopled by immigrants and dropouts comes across as depressingly true, but pic fails to conjure up any involving drama. Perfs are OK, dialogue is sparse. Onscreen title appears in lowercase, in both Greek and English.