A post-modern theater adaptation of a classic Greek tragedy takes place in a central theater of Athens. Like every night, the audience take their seats and the play begins. Suddenly, the lights on stage go out. A group of young people, dressed in black and carrying guns, come up on stage. They apologize for the interruption and invite people from the audience to participate on stage. The play resumes with a main difference; life imitates art and not the opposite.
Marisa, a recently retired doctor, decides to travel as a volunteer to a Greek refugee camp where, in her opinion, they need people exactly like her. When she gets there, it becomes clear that she is nothing like the other volunteers. When she meets little Ahmed, the boundaries between the need to care and the need to feel useful begin to blur.
Elizabeth, a sexually yielding policewoman, is miserable in the narrow-minded town in which she's living. While Rita, a lonely eel-hatchery worker, is trying to escape from the sticky situations of her life.
Under the hot Greek sun, animators at an all-inclusive island resort prepare for the busy tourist season. Kalia is the group leader. Paper decorations, glossy costumes and dance shows fill the stage. As summer intensifies and the work pressure builds up, their nights become violent and Kalia's struggle is revealed in the darkness. But when the spotlights turn on again, the show must go on.
Chatila and Reda are saving to pay for fake passports to get out of Athens. But when Reda loses their hard-earned cash to his dangerous drug addiction, Chatila hatches an extreme plan, which involves them posing as smugglers and taking hostages in an effort to get him and his best friend out of their hopeless environment before it is too late.
Running away on the highway, Maria is alone in her roaring SUV. Behind her, fire and a case full of money. In front of her, the hopeless vastness of the motorway. Only a day before she was a caring mother, a loving wife, a responsible daughter. Today she has gone rogue.
Leaving behind a ruined career and a bitter divorce, Selim returns to his hometown Izmir. Unwilling to make plans for the future, he wanders around revisiting his past: family, schoolmates, an ex-lover. He runs into Cihan, a friend from the military service, an idler with a charming energy. As people start leaving Izmir due to a terrible smell caused by a mysterious maritime accident, Selim finds himself gradually drawn to a new world where he will go back embracing the possibilities of life.
A method actor commits a heist that goes wrong. He befriends the critically injured victim and tries to reconcile his guilt before his one shot audition in New York.
A devoted but underappreciated housewife's brief taste of autonomy as a mall cleaner (where she is a popular, model employee) is threatened by pending layoffs.
The factory that once employed the entire town and surrounding villages has been closed down due to a questionable privatization process, coinciding with a tragic incident where a group of its workers perished in a deliberately set fire. The remaining workers, devastated by the loss of their loved ones and the subsequent corrupt sale of the factory, initiate protests, but their efforts seem futile, yielding no concrete results. Feeling abandoned not only by the authorities but also by their cherished church, they find themselves seeking solace and answers in the supernatural.
Somewhere in the middle of nowhere, on an underlit stretch of highway, Mary will come face to face with the man who broke her heart and will do everything she can to win him back.
All kinds of people are waiting in seven different queues. The first person of each queue becomes the last of the next one, thus creating an enormous human line. But at the end of the line, it all begins backwards again.
Six chapters describe the lives and perils of Thessaloniki’s Jewish community which was almost entirely exterminated by the Nazis in 1943. Past and present become an echo chamber in which the viewer experiences, aghast, the madness of humanity.
In a country shaken by major political events, three generations of a Greek family clash over an inside-the-family adoption.
Neurologist Katerina and former doctor Yannis are heading off to a deserted seaside resort. Silence descends on the car as they travel across dunes in a windy autumn, matching the less-than-pleasant occasion: Yannis has been called to identify the victim of a tragic accident at the hospital of the small town. When the local policeman informs them that the victim’s vehicle had plunged over the parapet of a stone bridge and leads them to the morgue, Katerina sees her worst suspicions confirmed. Together with Yannis, but also on her own nightly excursions to a mysterious, rustic beach bar called Arcadia, they begin to put the pieces of the puzzle together, revealing a haunting story of love, loss, acceptance and letting go.
Buildings are not supposed to move. But on Avenida Libertador 2050, a building moves and the ceiling shivers, causing a strange nausea that devours its residents. Those who live on the top are afraid they’ll fall, the ones who live beneath are afraid they’ll drown.
Alone and far from home, The Kid makes his way through a strange city looking for the means to get through his day. Surrounded by predators he is forced to make compromises merely to survive, his life of exile grows one day longer.
Marianna returns to Greece on a whim to surprise her boyfriend, secretly plotting to stay with him forever, while Nikos is using the carnival as an excuse to confess his love to his unsuspecting boss. Eugenia hesitates to tell her daughter about her secret romance with the much younger carnival crew leader, while Ilias has no qualms about begging his estranged wife to come home. Four couples, each one desperately trying to either rescue or escape their relationship, lose themselves in the intoxicating atmosphere of the carnival before they finally reveal their true colors, hidden behind the masks. In the midst of carnival madness, four duets are staking their claim on their own personal Paradise…
