Alexandra Ladikou

비가 내리는 어느 일요일, 죽음을 앞둔 시인 알렉산더는 삶을 마무리하기 위한 마지막 여행길에 오른다. 하지만 딸을 찾아간 시인은 기르던 개를 돌봐줄 것을 부탁하지만 거절당하고, 사위에게서는 죽은 아내와의 추억이 깃든 집을 팔았다는 소식을 듣게 된다. 이제 그에겐 못다 바친 시 연구에 대한 후회와 죽은 아내가 남긴 편지가 남아있을 뿐이다. 그러나 어느 일요일 알렉산더는 우연히 한 알바니아 소년을 길에서 구해주게 된다. 알렉산더는 마피아에 의해 관리되는 수천 명의 불법 이민 소년들 중에 한 명인 이 소년을 알바니아의 고향으로 되돌려 보내기로 한다.

A police comedy/fantasy adventure with witches, ghosts, beautiful fairies and a cop who tries to solve a mysterious murder.

A mysterious woman arrives on the Greek island Patmos.

An affair–parenthesis in the dull life of two people (Angelos Antonopoulos and Alexandra Ladikou), who meet by chance on a railway trip and spend a few hours together while the train is stuck in a station. Based on the same Noël Coward play that David Lean used for Brief Encounter.

One of filmmaker and expatriate writer Adonis Kyrou's best-known quotes translates roughly as "I urge you: Learn to look at 'bad' films, they are so often sublime." The same could be said of Kyrou's own directorial work in Greece before the advent of the 1967 dictatorship forced him to flee to Paris. This confused mess, the first cinematic attempt at portraying the Greek resistance in WWII, caused quite a stink upon release, as much for its surprising style (recalling that of Bertolt Brecht) as for its subject matter. Reaction to its screening as part of the 1966 Cannes Film Festival's International Critic's Week was heated and divisive, proving Kyrou's later statement by rising above its own inherent silliness to achieve a sort of rarefied critical status. It's bad drama that nonetheless succeeds by dint of audacity more than quality (a comment which could apply equally to the work of many exploitation directors like Jean Rollin whom Kyrou later so lovingly profiled).

A ruthless young man puts on eye the estate of a girl and after he is presented as in love with her, he is trying to convince her to give him all the money she has

The inextricably intertwined stories of five sex workers who live in a brothel at Pireas harbor.