Have seen it two days ago on the Artificial eye-DVD.

What I liked most was the colors of the film, everything seemed to be shot in contrasting black and white, but with colors, in between a palette of greyish and most notably brownish tones. It was beautiful to look at, like the sky is looking before the storm begins. The set design was also very convincing and seemed to transport the viewer in the depicted time. The story is about Eleni, an adopted greek girl, and all the social political and personal turmoil that surrounds her. It begins with fugitives deprived of their homes and ends in total dispair. The camerawork wasn't as great as in "Ulysse's Gaze" or "The Beekeeper", creating few memorable transcendental shots, which also seemed lacking compared to Theo's other films. 
For me it was his most easily accessible and straightforward film, with an easy to follow plotline. Played like an ancient greek tragedy, like Angelopoulos himself said in an interview "according to the principles of Arestoteles" as opposed to Brecht in his earlier films. But this also becomes a kind of problem, as the film clearly has way too much dialogue, at times simply repeating verbally what has already been shown, and thus diminishing the impact of certain scenes. I think that Angelopoulos made the film on purpose more "mainstream" as to get access to a larger public with this trilogy that will tell the story of the 20th century when finished. But to me that is one of its weaknesses. Adding unnecessary explanations or simplifications weakens its artistic integrity as a whole. Also the voice-over is used to a disadvantage imo as it doesn't add anything at all in itself, comparing unfavorably with the essential and integral voice-over of for example Kubrick's "Barry Lyndon". This comparison seems appropriate to me, as I think Kubrick's film was "technically" a heavy influence, maybe even some sort of blueprint for "The weeping Meadow". Most naticably the camera is constantly moving, panning most of the time in and out of a frame, the same technique used in "Barry Landon", though it doesn't achieve its impact, because it doesn't have the contrast of the distance of Kubrick's Brechtian mise-en-scene (and the restrained acting) on one hand and the gentleness and tenderness of the camera-movements that bring us close to the characters on the other hand, while the camera nevertheless keeps us distant enough to reflect upon the film. In "The Weeping Meadow" the similar camerawork becomes more the distancing and reflective part which impact nevertheless is too little when placed alongside the very emotional acting. Thus the film becomes a more "emotional" experience, meaning that it tries to lure you at times instead of trusting the viewer to develop his own emotions (e.g. Very contrasting to Robert Bresson). The Music by Eleni Karaindrou is the film, meaning that the main theme creates the same atmosphere and feeling in music that the film does in scenes without it. Thus its an integral part when Angelopuols shows musicians playing, as their music powerfully comments on the ongoing events and their impact on the protagonists' lives.

Overall, though too "mainstream" imo (compared to Angelopoulos own standards) One of my favorite films of the year and one of the best films of 2004. 
A must see.