Maria Filini

The film captures the way Yorgos Zois worked with his actors during the shooting of the film Interuption, as well as the atmosphere that evoked on the filming set.

Antonia (45) and Mavra (27) live together in a house with domesticated animals. Beneath fragile routines, a struggle for dominance unfolds. As care turns into control, their relationship escalates into a disturbing power game that blurs the boundaries between protection, exploitation and violence. What are we? Humans? Or Animals? Or Savages?

11-year-old Misha is coming from Russia to Athens during the 2004 Olympic Games to live with his mother. He does not know there is a father waiting for him.

Twelve-year-old Despina takes her younger sister, Annie, on a journey from the suburbs to the chaotic center of Athens, without explaining why or revealing their final destination.

A devoted but underappreciated housewife's brief taste of autonomy as a mall cleaner (where she is a popular, model employee) is threatened by pending layoffs.

Elizabeth, a sexually yielding policewoman, is miserable in the narrow-minded town in which she's living. While Rita, a lonely eel-hatchery worker, is trying to escape from the sticky situations of her life.

The unexpected encounter of two strangers and their agreement while waiting for a cab to share the cost of the ride, becomes the motive for the anatomy of a relationship.

The Evangelical Parable of an eleven-year-old Son who, with the blessings of his Father, is compelled at the eleventh hour, during his school play, to exchange the role of the Rooster for that of Christ before a newly affluent and insatiable audience.

[/spiti/ (noun): Greek for house, ] Alex is dealing with two losses; her father's sudden death, and the impending sale of her family house, that he had built as an architect. Trying to cope with this new reality, she starts forming a curious relationship with the house itself, and she unexpectedly falls in love with a girl. A personal guide on love and loss, set in the heat of the Greek summer, and narrated in parallel by the real people who lived in the house.

Running away on the highway, Maria is alone in her roaring SUV. Behind her, fire and a case full of money. In front of her, the hopeless vastness of the motorway. Only a day before she was a caring mother, a loving wife, a responsible daughter. Today she has gone rogue.

A post-modern theater adaptation of a classic Greek tragedy takes place in a central theater of Athens. Like every night, the audience take their seats and the play begins. Suddenly, the lights on stage go out. A group of young people, dressed in black and carrying guns, come up on stage. They apologize for the interruption and invite people from the audience to participate on stage. The play resumes with a main difference; life imitates art and not the opposite.

An Athenian security guard seeks to escape the crushing routine of her night shift. Playing table football or listening to love advice on the radio just doesn't cut it, so she introduces a more intimate relationship into her life. Intensely visual work, full of surreal shots of empty meeting rooms, shabby elevators and peeking security cameras.

A documentary, a video-diary and a propaganda piece for the “lawless, those without hearth, nor clan” (The Iliad, ΙX,63).

Six chapters describe the lives and perils of Thessaloniki’s Jewish community which was almost entirely exterminated by the Nazis in 1943. Past and present become an echo chamber in which the viewer experiences, aghast, the madness of humanity.

Survival, motherhood and movies all collide in a backyard pool.

A factory worker with autism and a woman with Tourette's syndrome discover an extraterrestrial entity that helps them escape the world's storm.

Anna, in her late twenties, feels like her life is sliding away from her hands. A ticket to a music school in Paris might be the last chance to pursue her dream unless her manipulative, self-destructive alcoholic father stands in her way.