Nikos Veliotis

Penelope and Isidoros live in a world where today they are lovers but the following day they scarcely know one another. It is a place where time doesn’t flow, where the days appear randomly in the past, the present, and the future – if these concepts even apply here. Their relationship is constantly changing; it is one continuous uncertainty marked by shared searching and reassuring. Somewhere next to their world is another where time is linear. It is possible to travel from arbitrary time to linear time, but the conditions for such a journey are mysterious and the price is high…

outa is a pigeon breed that flies all the way up to the clouds, then dives at 230 km/h and slows down just before reaching the ground. Christos is a teenager who lives in a disadvantaged neighborhood of Athens. He has to find a way to avoid conflict with his father who just got home from prison, just like the pigeons he loves avoid collision.

Una cine-opereta griega-japonesa, donde el antiguo mito griego del secuestro de Perséfone cobra vida ante los ojos de un grupo japonés, cuando la llegada de un extraño obliga a los miembros de la familia del albergue 'Perséfone' a identificarse con el destino de los héroes mitológicos.

In the rehabilitation unit of an Athenian trauma hospital, victims of serious accidents struggle to walk again… or at least return to an autonomous existence. Divided between hope and acceptance, they offer us a glimpse into the depths of human condition.

Director’s statement: “Electra is in her early 30s, living in Athens today. She is an artist, but she makes a living working as a babysitter. She is an activist and her boyfriend is a political prisoner. She feels lonely and is struggling to find her place in the world. We follow her as she meets the most important people in her life. Through these meetings, we understand better not only Electra, but also a whole generation of young people who feel stifled in this world. Capitalism, consumerism, globalization are currently being cast into doubt, so I needed to make a film that addresses all these things. What I’m interested in is showing how they affect our everyday life, our small decisions, our intimate relationships.”

Brindisi, Italy: a focal point in cigarette smuggling. The director returns to her hometown to see what's left of the past and what lies in store for the future.

Enormous tree trunks. The nature of leaves, the roots of desire and a house hidden deep in the forest. A journey to the other side. Something like a "punk" existential fairytale.

Constantina Voulgaris’s first feature film is a delightful anomaly in contemporary cinema, sort of like a Cat Power song. Raw, earnest, melancholy, awkward in parts, razor sharp in others, it's lyrical, yet with an undercutting touch of offbeat humor. And more than anything it's unapologetically a girl's bedroom song, an utterly sincere home movie. Made with the ever-generous currency of a cast and crew of friends, and the ample downtime that Greek summer-in-the-city affords, when everybody else is sunning and hooking up out in the islands, it's a film about two exiles -- in Athens, in summer, in love. A sentimental dance between a girl and a boy who could be stuck in downtown any-ville, yearning to be with each other but too cool to dare, too chicken to admit it, too clumsy not to step on each other's Doc Martens, and too damn sentimental not to surrender, in the end, to that old-fashioned thing called love.