Excellent, Without a doubt!!

The film makes a home in your brain and the only cure is to see it again.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

The best films of this genre always show a path and provide a takeaway for being a better person.

Z (1969) "Any similarity to real persons and events is not coincidental. It is intentional. And so the story begins." I love that this is displayed on screen at the beginning of the film. The letter Z, which means "He Lives", in Greek. A historically and politically significant film that was released at the most opportune time, political unrest in Mexico City, Martin Luther King, the election of Nixon, the Vietnam War. Costa-Gravas made extra character select a composer, Theodorakis, that would provide the perfect Greek soundtrack. Based on the 1963 assassination of left wing Greek Parliament member Gregory Lambrakis, as in the film, it inspired and evoked citizens enough to have in banned for a while. Appreciated the ending. Costa-Gavras did not take the easy way out. The last scene shows the inspiring Deputy's widow looking skeptical of the supposed success of the examining magistrate's indictments. Sure enough, truthfully documenting governmental corruption, the epilogue tells how all he is mysteriously removed from the case, and all the others involved in the prosecutor side die accidentally, are deported or incarcerated. The corrupt officials receive merely slaps on the wrist. Alas, the truth hurts. But the film manages to end on a positive note, with moving music and an explanation for the film's title. "He Lives"! Notably, the only film to date nominated by The Academy for both Best Picture & Best Foreign Language Film. It won in the latter category. Wonderful musical score. Costa-Gavras masterfully tailors in the perfect balance of intensity and suspense. A subtle thriller, with the protagonist a mysterious fighter, hiding behind his glasses, his partner photojournalist hiding behind his lens. We might never really get to know these characters in the details of their everyday lives, but we feel we know what constitutes their characters, what beliefs and values they fiercely adhere to, and ultimately what makes them the individuals they are. I am not usually into political thrillers, but this one is an exception. Well done, Costa-Gavras. #FilmReview

If there's a genre 'Political Thriller', this movie has to be at the top of the list. It's a well-written and brilliantly directed film that brought the events that happened in a right-wing regimen in Greece(which is implied). A sincere judge unfolds the mystery of an "assassinated" Leftist by painstakingly gathering the details of the "accident" with the help of a budding reporter. I am surprised the movie didn't win the 'Best Adapted Screenplay', if not the 'Best Picture', which it totally deserves. And a kudos to the quintessential editing.I am neither a student of Politics nor History, but i know an awesome movie when i watch one. This is that 'One'.

One of my favorite movies ever made . i am no left winger, although I do not agree with what the military junta as depicted in the film, I understand this is a sad reaction to the tragic results of the Greek civil war decades before when the Soviet backed communists committed terrible atrocities. see Eleni 1985 with john Malkovich, in my view the communists are responsible at least in part for the dictatorship or dictatorship like government in Greece at the time.the only problem with the movie I guess is that it is one-sided , but I can forgive this because it's so entertaining! the last time I rented the DVD it was a restored version and it looked great.

Costa-Gavras's 1969 film Z, written by Jorge Semprun off a novel from Vasilis Vasilikos, is two important things. First, it's a scathing indictment of government inadequacy and police corruption, based on real events but socially relevant still in our current culture. Second, it's the evolution of the political thriller, a genre that has long been one of great adoration for me. The film details the assassination of Greek pacifist Gregoris Lambrakis (though the film takes fictional liberties and never directly names the majority of it's characters) and takes place in Europe, but coming at the end of a decade that saw the assassinations of John F. Kennedy, Martin Luther King and Malcolm X, along with America being in the midst of the Vietnam War, it's themes of political mistrust and revolution are ones that were easily translated overseas.Political thrillers had been done before, including one of my personal favorite films The Manchurian Candidate, but Gavras was one of the first to take the genre, depict real events and turn the camera on the world at large and force it to take a look at itself. With a stunning mix of cinematic action sequences that had my heart racing and real-life consequences, Z set the bar for it's field to be judged by and it still remains at the very peak. The way that Gavras stages the whole thing is brilliant, constructing the pieces of this intricate plot like a symphony, making sure that he gets a note on each character while keeping the focus on the task at large. He knows where he is going to end up, but he also is fully aware of what important paths he must take in order to get there. It's an elaborate staging and one that could have easily overwhelmed it's director, but Gavras hits his marks with an unbelievable precision and authenticity that never gets too far ahead of it's viewer or leaves them cold.Everything is immaculately constructed and fully engaging. He makes sure that all of the parts are functioning properly, while simultaneously building to his ultimate goal. The first act is loaded with intensity, an uncomfortable feeling of paranoia and looming tragedy, as everyone prepares themselves for the rally to be led by Yves Montand's Lambrakis-proxy. There's a chilled, eerie feeling in the air, with several scenes of haunting, quiet tension all culminating in the rally itself which explodes with violent riots and protest, all while the police stand by and do nothing. The primary focus of the film then becomes a study of deconstructing the events that took place and figuring out who was responsible, through their actions and inaction. It's an endlessly intriguing web of trying to bring down the corrupt police and politicians, led with stern bluntness by the great Jean-Louis Trintignant, as the investigator who strives to bring the perpetrators to justice. The audience already knows what happened, so the film becomes this exploration of how it happened.Gavras wisely elects to focus on the case at hand, letting the political and societal ramifications unfold within the viewer themselves, instead of making the film become a left-wing preach of condemning the right. He doesn't focus himself on the politics of Montand's central character, but instead the corruption and indifference that plagues the government and military forces. It's a commentary and attack on the refusal to act by the people who we trust to be the ones to protect us and keep justice alive. With it's real-life themes and events, Gavras presents a biting attack on these men of power, but even without that he is able to make it an easily accessible and wildly compelling thriller. The mark of the best political thriller is one that succeeds even without it's politics. Gavras gives his audience the best of both worlds here, all building to a stunning conclusion that is bold, innovative and uncompromising in it's refusal to give us a happy ending.