Greek director Theo Angelopoulos began his career with an interest in left-wing politics and a determination to reveal what he believed to be the truth. As a result, his early films were opinionated and patriotic. However, due to historical changes in the region and personal growth, Angelopoulos explains that, over the course of his life, he came to trust political figures less and less. The growing conflict over right and wrong, the discovery that power corrupts, and the discovery of the true complexity of human nature led to a sense of confusion in the films he produced in the early eighties. Ultimately, Angelopoulos explains, he lost all hope in his previously held humanistic point of view. This sentiment is certainly reflected in his subsequent films on a personal, social and universal level. In The Gaze of Ulysses, A, a director very similar to him, is the embodiment of this bitterness. We follow his Homeric journey that begins in his hometown near the Albanian border and ends in war-torn Sarajevo. This film also presents all the people who have lost hope in the left-wing politics that once promised to unite the people of Europe and promote equality. Furthermore, elements of Ulysses' Gaze imply that this process of disillusionment is experienced by all humanity in one way or another, especially as we face the end of a century and recognize that we have not achieved the progress expected. Angelopoulos' distinct style is one that allows his films to simultaneously embody autobiographical and universal themes. I have to admit that I found the film difficult to watch at first. The techniques used by Hollywood's most successful directors tend to favor excessive action and sound, "immediately reaching the climax of each scene" and... middle of paper... all in the Balkans, Europe and the world .Works CitedAngelopoulos, Thodoros and Dan Fainaru. Theo Angelopoulos: interviews. Jackson: University Press of Mississippi, 2001. Web. December 2013. Fox, Margalit. "Theo Angelopoulos, Greek director, dies at 76." New York Times. January 25, 2012. Web. December 2013. Grunes, Dennis. “The gaze of Ulysses”. Grune. WordPress. Network. December 2013.Iordanova, Dina. “Conceptualising the Balkans in cinema”. Slavic review. 55.4 (Winter 1996): 882-190. Network. December 2013.Maslin, Janet. “Ulysses, Ozymandias and Lenin in the Balkans”. New York Times. January 17, 1997. Web. December 2013. Papadogiannis, Nikolaos. "Between Angelopoulos and Battleship Potemkin: cinema and the education of young communists in Greece in the first post-dictatorship phase." European History Quarterly 42.2 (2012): 286-308 Web 2013.