Yorgos Avgeropoulos

Almost a year after the global pandemic hit Greece, iMEdD and SmallPlanet, present Yorgos Avgeropoulos’ new documentary entitled “Parontes” (Present). The film, unfolds against the backdrop of the public healthcare system and follows the prominent figures at the forefront of the COVID-19 response, as well as the unsung heroes of the pandemic. Political decisions and backroom maneuvers come under the microscope and are juxtaposed with the struggles of those who bear the brunt of the new crisis on a daily basis. Through the Greek experience, Avgeropoulos manages to capture a universal reality and poses critical questions about the post-Covid era the world is entering.

Almost a year after the global pandemic hit Greece, iMEdD and SmallPlanet, present Yorgos Avgeropoulos’ new documentary entitled “Parontes” (Present). The film, unfolds against the backdrop of the public healthcare system and follows the prominent figures at the forefront of the COVID-19 response, as well as the unsung heroes of the pandemic. Political decisions and backroom maneuvers come under the microscope and are juxtaposed with the struggles of those who bear the brunt of the new crisis on a daily basis. Through the Greek experience, Avgeropoulos manages to capture a universal reality and poses critical questions about the post-Covid era the world is entering.

Almost a year after the global pandemic hit Greece, iMEdD and SmallPlanet, present Yorgos Avgeropoulos’ new documentary entitled “Parontes” (Present). The film, unfolds against the backdrop of the public healthcare system and follows the prominent figures at the forefront of the COVID-19 response, as well as the unsung heroes of the pandemic. Political decisions and backroom maneuvers come under the microscope and are juxtaposed with the struggles of those who bear the brunt of the new crisis on a daily basis. Through the Greek experience, Avgeropoulos manages to capture a universal reality and poses critical questions about the post-Covid era the world is entering.

For four and a half years, between 2015 – 2019, acclaimed filmmaker Yorgos Avgeropoulos observed Greek society on multiple levels. As well as having exclusive access to Prime Minister Alexis Tsipras and Finance Minister Yanis Varoufakis, he followed others, including a refugee couple from Syria and a mother whose child was murdered by Golden Dawn. The result is a unique and multiple story-lined film: a tale which evolves and unfolds with the characters over time as they face difficult decisions, even to partially achieve their goals.

For four and a half years, between 2015 – 2019, acclaimed filmmaker Yorgos Avgeropoulos observed Greek society on multiple levels. As well as having exclusive access to Prime Minister Alexis Tsipras and Finance Minister Yanis Varoufakis, he followed others, including a refugee couple from Syria and a mother whose child was murdered by Golden Dawn. The result is a unique and multiple story-lined film: a tale which evolves and unfolds with the characters over time as they face difficult decisions, even to partially achieve their goals.

For four and a half years, between 2015 – 2019, acclaimed filmmaker Yorgos Avgeropoulos observed Greek society on multiple levels. As well as having exclusive access to Prime Minister Alexis Tsipras and Finance Minister Yanis Varoufakis, he followed others, including a refugee couple from Syria and a mother whose child was murdered by Golden Dawn. The result is a unique and multiple story-lined film: a tale which evolves and unfolds with the characters over time as they face difficult decisions, even to partially achieve their goals.

As Europe is going through a crisis that is not solely economical but also a crisis of moral values, millions of European citizens demand a response to a crucial question: is water for the European Union a commercial product or a human right? Until today, the European Institutions have not given a clear answer. The EU has still to recognize water as a human right, as the UN did in 2010. Up To The Last Drop follows the money and the corporate interests during a period of four years in thirteen cities of six EU countries. It’s a documentary film about water that reflects contemporary European values and the quality of the current European democracy.

As Europe is going through a crisis that is not solely economical but also a crisis of moral values, millions of European citizens demand a response to a crucial question: is water for the European Union a commercial product or a human right? Until today, the European Institutions have not given a clear answer. The EU has still to recognize water as a human right, as the UN did in 2010. Up To The Last Drop follows the money and the corporate interests during a period of four years in thirteen cities of six EU countries. It’s a documentary film about water that reflects contemporary European values and the quality of the current European democracy.

As going through an economic vortex, Greece is experiencing condition in post-war history. Homeless people, unemployment, poverty, violent conflicts and the rise of the extreme-right are found all over the county. Is there any possible way to break through the crisis? This film follows development of the crisis and its impact on people’s lives, as well as rise of fascism, while seeking answers from interested parties.

It was an unprecedented occurrence in world history. Nowhere and never in well-governed democratic states, had the public broadcaster been silenced in such a manner that was characterized as "autocratic" and “undemocratic”. Within five hours, on the evening of June 11, 2013, the Greek Prime Minister Antonis Samaras turned off the switches of ERT, Greece’s public broadcaster, after 75 years of continuous operation. Both TV and radio frequencies fell silent, making screens broadcast black and the FM to buzz. The closure of ERT was an unheard-of political act that shocked Greek citizens bringing back memories from the dark period of the dictatorship. It also caused a fierce international outrage from all around the world. Why did the public broadcaster have to die?

It was an unprecedented occurrence in world history. Nowhere and never in well-governed democratic states, had the public broadcaster been silenced in such a manner that was characterized as "autocratic" and “undemocratic”. Within five hours, on the evening of June 11, 2013, the Greek Prime Minister Antonis Samaras turned off the switches of ERT, Greece’s public broadcaster, after 75 years of continuous operation. Both TV and radio frequencies fell silent, making screens broadcast black and the FM to buzz. The closure of ERT was an unheard-of political act that shocked Greek citizens bringing back memories from the dark period of the dictatorship. It also caused a fierce international outrage from all around the world. Why did the public broadcaster have to die?

The exploitation of the country’s mineral wealth is projected as the most reasonable solution to deal with the economic crisis that plagues Greece. The Greek state has ceded its mining rights over 31.700 ha of land in northern Halkidiki, a region rich in gold, copper and other metals, to the Canadian multinational company Eldorado Gold. However, many of the region’s inhabitants, who have been resisting the construction of a goldmine for years, claim that this investment will cause irreparable damage to the environment and the benefits will be fewer than the losses. “Cassandra’s Treasure” presents a detailed picture of the modern Greek state before and during the crisis period.

According to myth, God entrusted San Vicente with a difficult task. On his back he carried a sack full of Muxes, and had to leave one in every town of the Zapotec kingdom. But when the Saint reached Juchitán he tripped, and all the Muxes he carried in his sack fell out. Since then, this town in the South-East of Mexico has experienced an unexpected – not only for Mexico but for the entire world – sexual liberation. Homosexual men who wish to dress as women freely do so, and live a more or less similar life as their heterosexual fellow citizens. Not only do the Muxes not hide their difference on the streets of Juchitán, they actually project it in every way. A documentary on the joy of life and love