Film Review - Kapodistrias
“But you British, who will forgive you…”
Kapodistrias (2025) continues Yannis Smaragdis’ long-standing cinematic approach of blending historical biographies with an overly-idealised style of storytelling. The 140-minute-long film follows Ioannis Kapodistrias, a Greek nobleman serving as a diplomat under Alexander I of Russia, as he navigates the tangled politics of European courts and works to secure support for Greece’s independence. The result is engaging and informative, but ultimately leans heavily toward hagiography in its portrayal of Kapodistrias, but who, by most accounts, may very well warrant that level of reverence.
Antonis Myriagkos shines in the title role, delivering a controlled and dignified performance that emphasises restraint, a nod to his extensive theatre background. Coupled with an emotional original score by Minos Matsas, the film effectively builds the theatrical atmosphere expected of a historical biopic. The costuming by Michalis Sdougos reinforces its period authenticity through detailed aristocratic dress and symbolic contrasts between imperial Europe and revolutionary Greece. While it’s undeniably beautiful and you can most definitely feel the care that has been poured into this piece, it’s a little overly polished and refined, giving the film a curated, museum-esque luster that ultimately feels detached from the harsh reality of this period of Greek History.
Surprisingly, the film avoids any direct depiction of the Ottoman Empire, given the Greek War of Independence was quite literally a struggle to free the nation from centuries of Ottoman rule. Instead, the primary sources of opposition and political tension are with the European powers and Kapodistrias’ own fellow Greek countrymen. It allowed for a sharp portrayal that highlights just how difficult it is for a country to rebuild itself after centuries of oppression, where the upheaval gives way to political division, competing visions for the future, corruption, and, as always, opportunistic European powers. Apparently, “Freedom or Death” didn’t quite include freedom from being appointed a Bavarian family as Greece’s rulers. But that’s a history lesson for another biopic.
I really wanted to adore this film, especially as a Greek girl with a vested interest in promoting Greek art and history, who yearns for the Golden Age of Greek cinema. Maybe that’s on me, maybe my standards were too high after the success of Yorgos Tsemberopoulos’s 2024 biopic Yparho (Stelios). But Kapodistrias ultimately struggles with consistency. The supporting cast, particularly when acting in English, come across as overly theatrical, verging on ridiculous, in a way that was more distracting than deliberate, threatening to turn the entire film into a parody.
By the midpoint, it becomes easier to accept it as a stylistic choice rooted in Greece’s longstanding stage tradition. Or so I tell myself. However, this framing did not make it any easier to accept some extremely questionable choices when it came to the heavy-handed, poorly CGI’d religious imagery. Unfortunately, there’s only so much the film’s beauty, strong lead performance, and clear ambition can do in the face of inconsistent execution. Something Kapodistrias himself can attest to.
But if you’re into Greek history, cultural identity, the politics of war, and hating the British, then Kapodistrias is the film for you.
3.5 out of 5
Kapodistrias is screening in cinemas now. For tickets and more info, click here.