The Bastards have left the city behind. Their house in the countryside smells of nothing but summer. Five girls and five boys living in the moment, for the moment. No outsider comes around here, and all the insiders take turns standing guard, kissing each other, playing dead. They are still kids. They are your kids. They are our Bastards.

Nelly has escaped from her wealthy and controlling family. As she dances in a strip club, she meets Markos, a small yet charismatic gangster, who helps her run away from her stepfather’s henchmen. Markos soon becomes her protector and lover. He brings her into Broadway, Athens, an abandoned entertainment complex squatted by a small community of dancers, tramps, thieves and a captive monkey. For a while, everything goes well, even when Broadway hosts a mysterious man, injured and covered with bandages, wanted dead by Athens’ most dangerous mafia. However, when Markos gets arrested and imprisoned, the newcomer will take an unexpectedly important place in the gang.

Girlhood follows the story of three seventeen-year-old girls in a neighborhood in the center of Athens as they go through the difficult period of transition to adulthood while in quarantine isolation. Christina, Nefeli and Vera experiencing sexism, dream of their independence and try to learn to love themselves. With their faces glued to a screen, they take refuge in each other and await to finish school.

The performance is over, the actors step off the stage, the audience leaves the theater. However,in this case, the end marks the beginning. Eleven spectators star in their own tales, intertwined in a collage crafted by life itself. Restaurant and movie theater owners, immigrants and tourists, regulars and passers-by interact with the urban entourage and the people they come across, weaving a mosaic of endless possibilities.

In this mesmerizing experimental film, a Stephen King television movie is compressed and transformed through hypnotic black and white collage animation that meticulously reconstructs and reshapes its supernatural drama to an eerie and profound effect.

Christina, a ballet dancer who struggles to earn her mother’s approval, is trying to succeed in an audition for which her mother is preparing her.

Michalis or MJ is obsessed with fame, wealth and Michael Jordan. He is a trap rapper. "I am destined for greatness! I am already Number One! But why don't they love me?"

Two men go in search of a birdman to become a bird in nine steps.

A railway crossing in the middle of nowhere. Two guards: solitary Yiannis who never leaves his post and cool Antonis who goes with the rhythm of the landscape. Every once in a while, a voice announces the passing of a train. The two guards manually lower the bars. Nothing seems to stir their daily routine until love charges in, crushing all certainties.

Isabella is in quarantine due to the coronavirus. She decides it’s the right time to read all of Darwin’s books, but the writing is heavy and she falls asleep while reading. Darwin’s ghost appears in her dream. He wants to talk about the expression of emotions, because Isabella is an actress. Darwin explains that in his book “On the Expression of Emotions on Man and Animals,” he presents his hypothesis that basic expressions – just like bones or the famous beaks of his finches – are also shaped by evolution.

Eva Stefani follows the rehearsals at Onassis Stegi and the international tour of Dimitris Papaioannou’s legendary stage work, Transverse Orientation. Her film is also a portrait of the artist in his effort to give shape and breathe life into his work.

Humanity has been struck by a pandemic. People from around the globe have fallen asleep and nobody knows when they're waking up. Only few of them haven't been infected. Among them, there's a boy who fell in love with a girl right before the outbreak of the epidemic. With an old camera, he tries to capture the beauty that's left in the world, so the girl can see it when she wakes up.

When Sofia courageously reveals her rape by a powerful figure within the Hellenic Sailing Federation, it sparks shockwaves and ignites the MeToo movement in Greece. Amalia reaches out to Sofia for support—she was raped by her coach from the ages of 11 to 13—leading them on a path toward justice. In a milestone trial, Amalia faces grueling courtroom proceedings, intense victim-blaming, and attempts to discredit her. Sofia stands firmly by her side, providing support and crucial testimony. The statute of limitations on her case has expired, preventing her from having her day in court.

HOW ARE WE is a collectively-created performance consisting of fifteen 90-second solos that respond to 10 prompts proposed by artists Emily Mast and Yehuda Duenyas.

Hamlet browses his desktop. Shakespeare’s play themes become transparent through the use of media. During an evening screen-mirroring, love, grief, anti-depressants, death, self- destruction are intermixed with endless references to pop internet culture, to animation, to current affairs.

An aquatic malady threatens a forgotten coastal village. Confronted with this rising marine crisis, three young fishermen resort to illegal dynamite fishing.

Five sights of Athens as seen from another point of view. The various names of Truman, the passing-by runner, Charilaos Trikoupis’ specialty, the animal instincts of love, and Melina, they all share personal data in the time of mask-wearing. Now, people and sights find time to get to know each other.

In a distant future world, where water and air are contaminated, and it is prohibited to touch one another, a girl and a boy decide to go to a beach. Yorgos Zois creates an erotic sci fi through these dystopian times.

After being called a liar for years, Stathis is forced to gather all his friends and take them to a top-secret location to prove the existence of a supposed rocket (that only he knows about). If he doesn’t show the rocket, he loses all his friends.