Cinergon Productions

A seaman finds himself out of work and stranded in a distant port. He shares a cheap room. They take turns sleeping, some in the morning, some at night. Grief! When he will go back to sea? And there! The scent of woman drifts up to seduce him! He realizes he had shared his bed with a lady of the night.

Nicolas is a shepherd. He is around twenty years old, thin and spirited. Constantina is eighteen years old. Constantina fell in love with Nikolas the very first time she saw him with his lyre at the bull sacrifice ritual. She entered the whirlpool of ecstasy and became his lover. Their relationship was clearly physical, all other things were setting them apart. Constantina decides that they should break up. "We come from different places and head in different directions", she says. When she finds out that she is pregnant, she does not tell Nikolas.

Why didn't Vicky go get her passport sooner? What happened and she was caught crying in a bank? Why does she ask Alexis if he's bored? Will Harris text her? When will her hypochondriac neighbor see her again? None of these questions will be answered. Vicky is leaving tomorrow and she just wants to have fun.

An adaptation of Alexandros Papadiamantis's short story. Passion for a woman and some desperate thoughts push a young man to secretly take a stranger's boat and set sail. The wind carries him away and he is shipwrecked. He comes to in a cave, near the deserted shores, among three eccentric people who, each for their own reasons, live on the margins of society. He listens to them recount their personal stories with humour and self-deprecation. But behind their seemingly ill-fated romances, he discerns true love.

References to great Renaissance painters, to figures who defined the 20th century (Samuel Beckett, Man Ray, Luis Buñuel, Sergei Eisenstein) and to architectural models (Hadrian's Villa, Villa d'Este, the Capitol, the Vatican, the E.U.R. district) form a set of "sibylline sayings" in the film through the use of double images. A discourse that is unpredictable, internal, mystical, and above all silent, which predicts the end of innocence (Part I), of enigmatic and irrational love (Part II), of death (Part III), and of despair (Part IV). And with the masses now being dissolved by the violence of power, which leads the individual to isolation or madness. And in the end, the silent, desperate song of Sibyl, in the shadow of the buildings of the fascist period, signals her return as a prediction.

The film reconstructs through an array of visual fragments, a multiplicity of languages, of peoples and their identities, the unique portrait of the poet and painter Etel Adnan.