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In the Greek community of Ethiopia in the 1960s, a rich Greek disrupts the relationship between his well-bred daughter and a young man. Three decades later they meet again.
Kalavryta. December 1943. Devastation; the entire male population over the age of 14 executed; every house in town torched down. In retribution, said the Germans, for the killing of 80 Wehrmacht soldiers by partisans.
Hara leaves the maternity hospital with a baby in her arms. She spends her days caring for her newborn baby. Daily images of affection, familiarity, devotion and acquaintance with the baby in the rhythm of a lullaby. However, the repeated emergency news about the abduction of a baby from the maternity hospital comes to violently bring us back to reality.
Mahi, an 80-years old woman, is a former military officer who underwent gender reassignment and became a singer. 50 years later, she returns from Germany to Greece to reconnect with her daughter in order to rebuild their relationship.
The psyche of Athens through the transfer, the relocation of the National Library. The dominant old building of the National Library in the centre of Athens, with its neoclassical style pillars, tries to remind us of the Golden Age of Pericles and the sages of ancient Greece. But few of the residents seem to be interested in it. The preparations for the transfer of the books, ‘victims’ of looting and wear, have begun. In a city that looks like a battlefield we witness both the transfer and the city, which in its unrest remains exciting. And also, we get to hear the voice of the National Library, connecting the past with the present, wondering about the future.
The Last Daughter
Costas Manoussakis traced a short but impressive trajectory in Greek cinema and, after making only three films, withdrew into isolation. It was never made clear whether this was a decision to which he had been led due to events or whether this was a peculiar form of self-exiled chosen by a true aesthete. What is certain is that during the sixties, his films, Betrayal and especially Fear, caused quite a stir. Part of the official selection at both the Cannes and Berlin film festivals, the films were box office hits in Greece and were screened in many countries all over the world. At the same time the critics unanimously proclaimed Manoussakis a great talent and a film stylist whose potential went far beyond the narrow limits of Greek cinema. But after 1966, when Fear was screened, Manoussakis never made a film again. At the age of 33 he was a retiree. The documentary looks at the case of Costas Manoussakis in its entirety.
In 1947, in the early days of the Greek civil war, a camp was set up on Makronisos for the rehabilitation of political prisoners, communists and leftist EAMites, so that they would ‘recover’ and join the ranks of the National Republican Greek League. The Makronisos camp was, in effect, a choice of the British, at the outset of the Cold War, as an experimental action against similar situations around the world. Makronissos has been etched on the collective unconscious of the Greeks for the unthinkable violence and the atrocious methods of reform used against the prisoners. Its legend and the stories accompanying one of the most heated affairs in modern Greek history are still alive today.
Incarcerated men defy the odds to expose a cover-up in one of America’s deadliest prison systems.