Tzavalas Karousos

A modern retelling of the Greek myth of Phaedra. The young and fiery second wife of an extremely wealthy shipping magnate meets her estranged stepson Alexis and sparks immediately fly. Their love seems doomed from the beginning when she convinces him to come to Paris to meet his father.

Ioannina, in the beginning of the 19th century. The whole Greece is under Turks. Ioannina is governed by the fierce and vulgar Ali Pasas. Ali’s eldest son, Muchtar, falls in love with a young Greek widow, Frosyni. The problem is, he’s married to the vindictive and cruel Chanife. And the muslim penalty for having an affair with a married man is death…

In Thebes in ancient Greece, King Oedipus kills his father and marries his mother Jocasta, having two sons - Eteocles and Polyneices - and two daughters - Ismene and Antigone. King Oedipus dies a beggar in the exile after gouging out his own eye, and Eteocle agrees to reign in Thebes in alternating years with Polynices. However, he refuses to resign after the first year and Polynieces raises an army and attacks Thebes, and they kill each other. The ruler of Thebes Creon decrees that Eleocles should have an honorable burial while the body of the traitor Polyneices should be left on the battlefield to be eaten by the jackals and vultures. However, Antigone, who was betrothed to Creon's surviving son Haemon, defies Creon's orders and buries her brother. When Creon is reported of the attitude of Antigone, he sentences her to be placed in a tomb alive. Antigone hangs herself in the tomb and Haemon tries to kill his father first and then he kills himself with his sword...

Katina, an impoverished Greek woman, tries to arrange the marriage of her shepherd son, Thanos, to Despina, the daughter of a wealthy landowner. But Despina’s father, Vlahopoulos refuses to give his blessings.

In 1821, in Cinema, he records the cinematic representations of the Revolution from the first decades of the 20th century. until the present day. Despite the fact that the Revolution of 1821 constitutes the founding act of the modern Greek state, as a subject matter it is underrepresented in national film production. This is one of the points on which the research looks, which simultaneously examines the periods of concentration of films on the subject of the Revolution or, respectively, the periods of its collective silence. The purpose of the documentary is to study the ideological discourse and the cinematic language of the films with the theme of 1821, in order to highlight the function of the cinema as a carrier of Public History and as a factor in shaping the collective historical consciousness.