1949, towards the end of the Greek Civil War. Yannis, the son of a rebel, is torn from his village and deported to the Childcare Cities where his ideas and desires are manipulated. Nightmares and dark feelings for his father slowly inhabit his heart. Only when he reaches adulthood does he redefine his existence, so he decides to go and meet the man.
Michalis or MJ is obsessed with fame, wealth and Michael Jordan. He is a trap rapper. "I am destined for greatness! I am already Number One! But why don't they love me?"
Dimitra, a nearly 50-year-old woman living with her manipulative elderly mother, Rea, reaches a breaking point when she attempts to install a treadmill in her bedroom.
The Bastards have left the city behind. Their house in the countryside smells of nothing but summer. Five girls and five boys living in the moment, for the moment. No outsider comes around here, and all the insiders take turns standing guard, kissing each other, playing dead. They are still kids. They are your kids. They are our Bastards.
Through thirteen images and an equal number of stories, little Melina-Amalia, the teenager, the woman, the fighter, Blanche, Stella, Ilya, Phaedra, Medea, Clytemnestra, Minister of Culture, the stoic Melina in Memorial Hospital, all aspects of the "last Greek goddess". Shot on the stage of the National Theater Rex - Marika Kotopouli, it captures, balancing between theater and cinema, important historical events that make the myth that surrounds the glamorous protagonist even more powerful and charming.
The story of a man who feels happy only when he is unhappy: addicted to sadness, with such need for pity, that he’s willing to do everything to evoke it from others. This is the life of a man in a world not cruel enough for him.
‘A man. A woman. In a car. Fastened. Immobile. Blood. Silence.’ A suitably skewed short, from the team that brought us Dogtooth and Attenberg.
A contemporary married couple and their eight-year-old son are exposed to our observation. The husband, around 35, works as a tax specialist for an import-export firm. His 30-year-old wife looks after their child and their home. The man's impending promotion at work triggers their dreams of social advancement and financial improvement. As their plain everyday life unfolds the characters are denuded to reveal their different needs and desires which render their functioning and communication increasingly hard. The man's inability to meet the escalating demands of his social circle and those of his wife brings tension into their relationship and leads to the culmination of the drama. The unexpected as well as extreme solution given by the heroine leads both the hero and the viewer to redefine reality on the basis of how things look and how they really are.
A young female character, Nikki Douka, from Samothraki, is sailing to the U.S. to fulfill a marriage contract and save her family honor. Her skills as a seamstress keep her busily sewing throughout the voyage to alter wedding dresses for the third-class voyagers. But along the way, she meets a young American photographer who is returning from the Middle East where he was snapping shots of the war in Smyrna, 1922. Her honesty, pride, and beauty attract the attention of the American who falls in love with her. Tribulations abound during the voyage, following the dramas of several unfortunate young women upon whom nasty characters preyed, as Nikki struggles with her feelings for the photographer.
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