Meat Review (Glasgow Film Festival 2025)

Greek tragedy has profoundly shaped modern storytelling. At its core, a Greek tragedy revolves around the downfall of a prominent figure, often driven by their own flaws and circumstances beyond their control. Works like Jesus Christ Superstar serve as prime examples of modern narratives that adopt the structural framework and thematic elements of Greek tragedies. Meat follows a similar structure, delivering a captivating story. However, while its impact is undeniable, the film’s handheld cinematography may induce motion sickness, making it a challenging watch at times.

Set in a Greek village, the film follows Takis (Akyllas Karazisis), a farm owner who has recently opened a butcher shop. He finds himself in conflict with his neighbor, who harbors a vendetta against him. One night, Takis catches the neighbor on his farm in the act of sabotage. The confrontation turns violent, and in a drunken rage, his son Pavlos shoots and kills the intruder, with Christos (Andreas Konstantinou) witnessing the act. As they scramble to cover up the crime, rumors begin to spread throughout the village, ultimately pointing fingers at Takis as the one responsible for the disappearance.

From the very beginning, Meat relies heavily on handheld camerawork—sometimes excessively so, even when the narrative or emotions of a scene don’t seem to warrant it. The shaky visuals effectively heighten tension during key confrontations, but in quieter, more subdued moments, the constant movement feels unnecessary, even to the point of inducing motion sickness, as if one were aboard a swaying boat.

In contrast, the film’s narrative never lets up. Set in a Greek village, Meat follows Takis (Akyllas Karazisis), the owner of a farm and a recently opened butcher shop. A conflict brews between him and his neighbor, who is caught one night sabotaging the farm, leading to a drunken Pavlos (Pavlos Iordanopoulos) shooting and killing the man in a fit of rage. Takis, desperate to protect his son, is quick to help cover up the crime. However, as rumors spread through the village, suspicion falls not on Pavlos, but on Takis.

While Pavlos delivers a volatile, compelling performance, I believe the character himself ultimately undermines the film’s core thematic intent. The narrative explores how immigrants, like Christos (Kostas Nikouli in a restrained yet imioned performance), are often scapegoated for crimes they didn’t commit. But since Pavlos comes across more as a petulant child throwing a tantrum than as someone embodying deeper societal issues, the film’s message risks being diluted.

With excellent performances and an engaging story, Meat proves to be a worthwhile watch. While I wish the cinematography hadn’t relied so heavily on handheld camerawork and had instead taken a more focused approach to its core theme, the film remains a compelling exploration of how immigrants are often unfairly burdened with blame for others’ actions. Despite its flaws, Meat delivers a satisfyingly impactful experience.

★★★

Played as part of the Glasgow Film Festival / Akyllas Karazisis, Pavlos Iordanopoulos, Kostas Nikouli, Maria Kallimani, Giorgos Symeonidis / Dir: Dimitris Nakos