In this mesmerizing experimental film, a Stephen King television movie is compressed and transformed through hypnotic black and white collage animation that meticulously reconstructs and reshapes its supernatural drama to an eerie and profound effect.
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?"
A desperate meditation on the extended passage of time as experienced through social distance.
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.
Nelly has escaped from her wealthy and controlling family. As she dances in a strip club, she meets Markos, a small yet charismatic gangster, who helps her run away from her stepfather’s henchmen. Markos soon becomes her protector and lover. He brings her into Broadway, Athens, an abandoned entertainment complex squatted by a small community of dancers, tramps, thieves and a captive monkey. For a while, everything goes well, even when Broadway hosts a mysterious man, injured and covered with bandages, wanted dead by Athens’ most dangerous mafia. However, when Markos gets arrested and imprisoned, the newcomer will take an unexpectedly important place in the gang.
Isabella is in quarantine due to the coronavirus. She decides it’s the right time to read all of Darwin’s books, but the writing is heavy and she falls asleep while reading. Darwin’s ghost appears in her dream. He wants to talk about the expression of emotions, because Isabella is an actress. Darwin explains that in his book “On the Expression of Emotions on Man and Animals,” he presents his hypothesis that basic expressions – just like bones or the famous beaks of his finches – are also shaped by evolution.
Sometimes you feel like an inflated prophylactic glove, and you almost want to jump out the window.
Girlhood follows the story of three seventeen-year-old girls in a neighborhood in the center of Athens as they go through the difficult period of transition to adulthood while in quarantine isolation. Christina, Nefeli and Vera experiencing sexism, dream of their independence and try to learn to love themselves. With their faces glued to a screen, they take refuge in each other and await to finish school.
When Sofia courageously reveals her rape by a powerful figure within the Hellenic Sailing Federation, it sparks shockwaves and ignites the MeToo movement in Greece. Amalia reaches out to Sofia for support—she was raped by her coach from the ages of 11 to 13—leading them on a path toward justice. In a milestone trial, Amalia faces grueling courtroom proceedings, intense victim-blaming, and attempts to discredit her. Sofia stands firmly by her side, providing support and crucial testimony. The statute of limitations on her case has expired, preventing her from having her day in court.
A railway crossing in the middle of nowhere. Two guards: solitary Yiannis who never leaves his post and cool Antonis who goes with the rhythm of the landscape. Every once in a while, a voice announces the passing of a train. The two guards manually lower the bars. Nothing seems to stir their daily routine until love charges in, crushing all certainties.
But to observe, you need stillness. You need to wait. To move slow. To expand time. To learn slow. To see.
In a distant future world, where water and air are contaminated, and it is prohibited to touch one another, a girl and a boy decide to go to a beach. Yorgos Zois creates an erotic sci fi through these dystopian times.
Hamlet browses his desktop. Shakespeare’s play themes become transparent through the use of media. During an evening screen-mirroring, love, grief, anti-depressants, death, self- destruction are intermixed with endless references to pop internet culture, to animation, to current affairs.
Having a chat with my alter ego as it looks on my holding two pairs of scissors and slowly cutting my hair. Sometimes it encourages me and at other times, it tries to stop me.
In reference to the ‘King of Soul’, we woke up at 5 am one morning in the midst of Swiss confinement to hit the consecutive bridges of Geneva with some revisited and reassembled James Brown moves. Taking us up the river Arve, we traveled bridge by bridge through the awakening of the city in a dialectic scheme. We are the Camera and the body, connection is our tool, listening our aim and the scenery our stage.
The everyday life of a man locked down in a house takes imaginary turns. In times of isolation and deprivation, his mind leaps to the elusive, while he is restrained inside the four walls of his house.
A man describes in as few words as possible the human race, which may be already extinct.
Fighting Monkey Practice. Want to move better? Age better? Cope better with stress and the uncertainty of everyday life? How about start working on it while housebound? Linda and Jozef are introducing the basic principles of Fighting Monkey Practice. Life rarely happens as you expect. Most of the time it is unpredictable. What games do you play to grow young? There are no ‘exercises’ complex enough to prepare you for life. But open games–or movement situations as we call them–which involve partners, ever-changing rules, and are developed through the context in which we live, can. Instead of trying to ‘fix’ your body, try to learn joyfully and with long lasting benefits the importance of adaptability.
The performance is over, the actors step off the stage, the audience leaves the theater. However,in this case, the end marks the beginning. Eleven spectators star in their own tales, intertwined in a collage crafted by life itself. Restaurant and movie theater owners, immigrants and tourists, regulars and passers-by interact with the urban entourage and the people they come across, weaving a mosaic of endless possibilities.
