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A flock of sparrows try to survive, chased from their home. Unable to migrate, they find refuge in posthumus identities. Inspired by the 1958 "Eliminate Sparrows" campaign spearheaded by the Chinese Communist Party, this piece deals with the idea of instrumentalization of humans. Through this historical event that lead to the Great Chinese Famine, a tangent emerges with today's ecological emergencies and identitarian questions.
'Death Under Control' is a documentary about the neighborhood that was created around and nurtured by the 1st cemetery of Athens. Athenians always respected the dead and their social status was reflected in the grandeur of the epitaphs they created for their departed loved ones. The religious notions may vary over the years but the ecumenical need to remember remains the same. Throughout the years, mostly poor unskilled workers flocked to the neighborhood to work in all aspects of the funerary procession. As traditions changed and evolved, these professions gained structure and gravitas but never escaped their discomforting associations. In 'Death under control' we meet the descendants of the first workers of death. Businesses that go back for at least 4 generations with undisrupted continuity. What is considered to be a brim and macabre form to make a living, is seen under a new perspective from the stories that morticians, funerary house owners, florists, and sculptors narrate.
In this experimental short, the artist is exploring the notion of identity and belonging using as a starting point the last phrase from Ray Bradbury's allegoric book "The Martian Chronicles". The environment where the short takes place offers glimpses of a labour past that can be mistaken as an otherwordly space. The artist chooses this location to set the story of an astronaut while challenging the notions of extraterrestrial migration, ecology and imperialism.
All indications were that Maraki was made for great things, for honor and distinctions. And yet contrary to all expectations our heroine cops out. She refuses to take the university entrance exams is left behind in the country town selling fruit tarts. No one can figure out how come that whiz kid got left behind. Neither can anyone understand why Maraki isn't mad at fate for having wronged her so flagrantly. How does she manage to be so creative and optimistic, ready to do battle with the everyday injustices of life wherever the may appear? She appears to understand something that all the others ignore.
An exiled filmmaker finally returns to his home country where former mysteries and afflictions of his early life come back to haunt him once more.
This highly acclaimed drama from Greek writer/director Sotiris Goritsas, inspired by the Sotiris Dimitriou short story, represented Greece as an official selection for the 1994 Cannes Film Festival Directors' Fortnight. It concerns two young Greek men seeking refuge in Albania. Thomas (Vassilis Eleftheriadis) and Achilleas (Ierassimos Skiadaeressis) make an illegal late-night run at the Greek border, joined by young Nikos (Antonis Manolas), a child whose mother had been killed by Albanian guards. Returning to Athens, they find that the land they had missed and dreamed of so often has changed, refusing to accept the returning refugees or even see them as Greek -- the locals refer to the trio as "Albanians" throughout the film. Demoralized and disillusioned, Thomas is accidentally killed while working at a building site to make ends meet, and Achilleas and Nikos decide to return to their Albanian village rather than stay in an Athens, which clearly has no place for them anymore.
This is a series of intersecting stories. A petty crook and former lover of a lazy ingénue steals the box-office receipts from the Odeon of Herodus Atticus, on the day an important football game is also taking place. There is also the story of the half-mad mother of the ingénue who refuses to put shoes on because she believes that shoes lead people astray. An eccentric grave-digger produces a two-seater coffin for couple-victims of car accidents. The film also tells the story of one of the Odeon's cleaning women and of a watermelon that goes all around the city, pursued by a tired theater technician and his sister, who is a tour guide. The impresario conducts an inquiry after the theft, but the thief and his two associates, the ingénue and the technician, use what was stolen to set up a small theatre. Small everyday stories and comic incidents combine to create a portrait of modern-day Athens.
After a young man is murdered, his spirit stays behind to warn his lover of impending danger, with the help of a reluctant psychic.
Madeline is married to Ernest, who was once her arch-rival Helen's fiancé. After recovering from a mental breakdown, Helen vows to kill Madeline and steal back Ernest. Unfortunately for everyone, the introduction of a magic potion causes things to be a great deal more complicated than a mere murder plot.