Dinos Lyras

Unbeknownst to the 19th-century Greek "primitive" painter Theofilos, other painters around the world at the time were also exploring non-academic subjects, focusing on the everyday lives of ordinary persons. In the U.S., the group of painters who chose such subjects were dubbed "the Ashcan school." Though Theofilos remained unknown in his lifetime, this biographical drama explores the painter's life from his birth on the Isle of Lesbos (Lesvos) in 1868 to the time when he developed his characteristic style, following his discharge from the Greek army.

A Filipino domestic worker is called to take care of an elderly couple in a Cypriot mountain village. What begins as a simple caregiving task gradually exposes a web of silent resentment, emotional dependency and unspoken histories, forcing her into the delicate, unsettling space between obligation and intimacy.

The 50-year Cypriot tragedy through the memories of an old man, a former gun dealer at death's door. A nightmare, through his operation, unmasks the reality of his own life and reveals his guilt feeling about his country.

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Dinos Diamantidis, a good-looking, 50 years old, man who lives with his sister, is running behind any attractive female. When he meets the twenty-year-old Korina he loses his mind as Korina pretends that she is in love with him. His secretary, Rita, who has been engaged for many years with him, takes action and, with the help of his doctor and a former employee, makes Dinos finally figure out what this girl really is.

When Orestes returns to his Greek island homeland after several years in London to settle his late father's estate, he begins an affair with Elena, who is married to his childhood friend Yanni. Their adultery soon leads to violence and tragedy.

At the turn of the twentieth century a young merchant is abducted by a group of brigands who are sheltered in a remote mountainous area of Greece aiming to extract ransom from his wealthy family. The young man develops a kind of sympathy to the arch-brigand and realizes that the underground life and moral code of his kidnappers actually represent a more genuine expression of “New Hellenism” than his bourgeois well-being.