Andreas Kontopoulos

Sofia and Eleni and Petros and Alexandros and Despina and Daphne. Familiar, people-next-door types with their obsessions, weaknesses, hang-ups. People who make the daily rounds in search of communication. Sofia, fragile and with no defenses, searches for the scent of life. Eleni tries to combine career and child, making the mistakes she blames her mother Despina for making. Alexandros, a full-fledged adolescent strives to be loved. Petros goes after lost relationships. Characters and the absences of characters. Relationships that are articulated and disarticulated. Through tender glances and open wounds. With an invitation open to all as an antidote. One that we have extended dozens of times while we wait and hope. So... let's go for an ouzo.

A girl on a cruise with her family, falls in love with the ship's lieutenant and has to make a dramatic decision when they reach Istanbul, in the end. A boy, secretly in love with his best friend, finally manages to express his feelings, through a fake Facebook profile... Until she finds out the truth! And two strangers spent a night together in Thessaloniki, falling in love, but when they part ways, the girl's mobile phone is stolen, along with the boy's number...

A man in his forties, afflicted with amnesia, crosses paths with a woman who was once his first love. Though no memories of her resurface, he is carried away by a feeling that runs deeper than the boundaries of his memory.

The story begins at the end of the first Kako movie. The survivors meet up with a group of other barricaded survivors and must take care of the zombies as well as other random Greeks that have taken advantage of the chaos, while shooting random moving targets (zombie or not). Throughout we take small flashback visits into ancient Greece where the zombie apocalypse has also happened and we learn how they faced them.

Running away from a life filled with failure and rejection, Nikos desperately dives into the dark waters of human desire, after closing a faustian pact. He is given an old piece of animal skin that promises its owner everything, but at a high price - his life. As he steadily steps down the spiral of madness, Nikos wonders if he could ever wake up from a life that more and more resembles a dream. A contemporary, radical outlook on Balzac’s classic novel.

Ismini is in her early 30s. She is cultivated, delicate, sensitive and... emotionally handicapped. She has developed a simplistic system of defense to protect her emotions: no one is to come near. It is exactly the moment when this collapses that unsophisticated, simple, impolite, aggressive and greatly passionate Haris appears in her life.

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.

An evil force is awakened in downtown Athens transforming the unsuspecting citizens into raving zombies. The few survivors will have to fight hard for their lives. To the death.