Is Ismyrna Worth Watching? Honest Movie Review & Audience Verdict (2016)

The Narrative Arc & Core Premise

Debuting in 2016, Ismyrna represents a sophisticated intersection of artistic ambition and genre-defining elements within the Modern Cinema category. The primary thematic concern of the film is an investigation into Joana Hadjithomas and the artist and poet Etel Adnan met fifteen years ago. As the story unfolds, we are introduced to a world where the traditional boundaries of Modern Cinema are tested.

The screenplay takes its time to establish the stakes, ensuring that every character motivation is grounded in a psychological reality. The synopsis only hints at the depth: "Joana Hadjithomas and the artist and poet Etel Adnan met fifteen years ago. They quickly became close, sharing a city that they had never been to: Smyrna, in Turkey. Joana’s paternal Greek family were forced into exile from Smyrna by the Turkish armies after the end of the Ottoman Empire. Etel’s Greek mother was also born in Smyrna and was married to a Syrian officer of the Ottoman Army and exiled in Lebanon after the fall of the empire. Etel and Joana have both lived in an imaginary Smyrna, today called Izmir, without ever setting foot there. Nowadays they are confronted with the transmission of history and trauma, questioning their attachment to objects, places, imaginary constructions and mythologies without images. What is to be done with the sorrow of our parents? Their personal experiences, their stories serve as a background to the region’s changes after the fall of the Ottoman Empire, the evolution of the borders questioning the notion of identity and belonging."

Artistic Execution & Performance Study

A film's resonance is often dictated by the strength of its execution, both in front of and behind the camera. Joana Hadjithomas does an admirable job with the material provided, but one can't help but feel that a more daring directorial approach would have yielded a more impactful result. It is a competent but ultimately standard genre performance.

The direction by Joana Hadjithomas is marked by a steady and professional hand. From a production standpoint, the film meets the high standards of modern industrial filmmaking. The sets are well-crafted, and the visual effects are integrated with a level of polish that ensures the viewer matches the director's intended level of immersion. While perhaps not groundbreaking, the execution is flawless. The pacing, over its 50 minute runtime, allows the audience to fully inhabit the space the director has created, making the eventual resolution feel deeply earned.

Critical Assessment: Why You Should Watch

Is Ismyrna truly worth your investment of time and attention? In an era of disposable content, this film makes a strong case for its existence. If you are a connoisseur of Modern Cinema, then this is a worthwhile watch if you have a specific interest in the themes or the performers involved.

The film's ability to perfectly execute its genre requirements is why it has earned its 0/10 score. It speaks to a global audience while maintaining a distinct and unique voice, a balance that is notoriously difficult to achieve in the modern marketplace.

Philosophical Subtext & Directorial Vision

At a deeper level, Ismyrna explores the dichotomy of truth and perception. The 2016 audience is increasingly sophisticated, and Joana Hadjithomas respects this by refusing to provide easy answers to the story's complex questions.

The philosophical underpinnings of the second and third acts suggest a narrative that is interested in more than just entertainment. It is an exploration of what it means to be human in an increasingly complex world.

Final Editorial Recommendation

Ultimately, Ismyrna is an interesting experiment that, while flawed, offers enough moments of creative spark to be worth a casual glance for the curious. Whether you are drawn to it by the star power of Joana Hadjithomas or the critical acclaim surrounding its release, Ismyrna is a film that demands to be seen on the largest screen possible.