The stakes couldn't be higher for displaced Palestinian refugees Chatila and Reda in this knife-edge drama. The cousins are saving to pay for fake passports to get out of Athens, but when Reda loses their hard-earned cash to his drug addiction, Chatila hatches an extreme plan to pose as smugglers in an attempt to get them out of their desperate situation 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.
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.
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.
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.
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.
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 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.
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.
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.
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.
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.
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.
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.
In a country shaken by major political events, three generations of a Greek family clash over an inside-the-family adoption.
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.
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…
In Greece the advertisement in exterior billboards has been recently forbidden. As a result there are hundreds of blank billboards that don’t show any messages. But the empty frames are now the message. And Greece is out of frame.
Argyris is an elderly man in the first stage of dementia. When his symptoms worsen, he decides with his daughter, Sophie, to enter a nursing home. The last days of his freedom, Argyris wanders around the city, meeting old friends while having a secret plan. He wants to get a revolver.
