With a title like “Murderess,” there can be little surprise where Greece’s submission to the Oscar international feature category is headed. The third adaptation of Alexandros Papadiamantis’s acclaimed novella follows the slow psychological unraveling of an elderly midwife as she contends with the ever-worsening patriarchal society she aides. Though director Eva Nathena and screenwriter Katerina Bei attempt to trace out their protagonist’s state of mind, it is frequently lost in a muddled approach to blending cold reality with feverish flashbacks and fantasy.
Marked by an endemic sense of isolation, “Murderess” begins with a group of unidentified girls dancing in a circle, singing a song wishing that there were
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