Dimitris Kasimatis

On the occasion of the return of the Kythera antiquities from Piraeus to the new Archaeological Museum, the film invites us to another journey, contemplative yet full of questions and with only shadows of answers: Why do we dig the past? What do we expect to find? What can we learn? And, at the end of the day, who are we within this ever-changing historical context?

Moderation, set in Egypt, Greece and Italy, revolves around a female horror director (Maya Lubinsky) and a screenwriter (Anna De Filippi), whose latest collaboration is haunted by encounters with its 'raw material' and the escalation of conflicting desires. Faced with the disintegration of their project, the director becomes more and more drawn into conversations with the actors she has cast (Aida El Kashef, Michele Valley and Giovanni Lombardo Radice), which reflect on the way horror traverses the affective and material realities of their lives on and off screen.

The astonishing debut feature from Greek filmmaker Ektoras Lygizos updates Knut Hamsun's classic 1890 novel Hunger to the modern day, as it follows an alienated young man desperately trying to survive on the streets of Athens.

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.

This is not an easy mystery to solve in all its subtleties. In the last paragraph, I give my take on the characters. I won't give away the principal spoiler. Still, if you want to exercise your Sherlock skills to the fullest, skip that last paragraph. I'll warn you. A man leaves prison. He has been paroled. The best he can do at first is stay at a shelter for poor people and look for work. In the meantime he tries to reconnect with people he knows and to avoid the attention of several shady individuals that know him. That's the layout. The mystery elements arise from the fact that he is rejected by a few, pursued by a duo of suspicious looking men, and approached by a bunch of unsavory roughnecks that know him well. Why the rejection? Why the persecution? What is the gang about? The film is parsimonious about handing out hints and clues that we need to answer those questions. The best we can do is work out hypotheses and see if they pan out at the end.

Nikos, Christine, Homer, George, Regina, Dimitris, Jim, Margaret, Elias, Monika and Haris return from their summer holidays.

An organ grinder (Orestis Makris) loses his wife from complications during birth. Distraught by her death, he refuses to take care of the baby and gives it to a family (Lavrentis Dianellos and Nitsa Tsaganea) to raise. The child (Jenny Karezi) is raised comfortably, and her natural father is too embarrassed to meet her - until she falls in love with a poor musician (Petros Fysoun), and her foster parents refuse to accept their relationship.

Vassileia at least has a job.