Marilena Moshouti

Twelve-year-old Vasilis escapes the orphanage, wanders a while in the capital and then takes the train for his hometown, Tripolis. As he wanders through the mountains of Arcadia, he meets a girl whose car has broken down. They become friends and spend the summer together, until Vasilis returns to his grandmother's house, which he finds abandoned and in ruin. The girl disappears, and Vasilis, deserted and alone, takes the road to Tripolis, where, in order to make ends meet, he performs odd jobs. On the day celebrating his patron saint, however, he abandons the city and takes the road back to his village.

The film is about Panos, a former child prodigy of cinema, who now lives forgotten in Exarchia with his best friend, Ermolaos, envisioning his big comeback. For pocket money, he walks Mrs. Ioulia's dog, who also uses it as bait to awkwardly flirt with passing girls. When Ermolaos encourages him to talk to a psychologist about the issues that concern him, things will turn upside down...

Spying a lissome young woman standing topless on a nearby balcony, Giorgos (Andreas Barcoulis) climbs up onto a nearby rooftop to get a better look. At a critical moment in his climb, his family and friends call out to him and he falls, suffering a terrible blow to the head. Ineed, at the hospital, the family is told that he is brain dead, and that if they like, his heart can be given to someone else as a transplant. Giorgos' grieving wife (Betty Livanou) agrees to this arrangement. The film now follows the recipient of the dead man's heart (Giorgos Constas), as he wanders all over Greece, driven by his newly lusty heart into the arms of many beautiful women. Eventually he is led to the one woman his new heart truly loved, Giorgios' wife.

Four episodes, four instances from a man’s life covering 25 years, from 1965 in Germany to 1990 in Athens. The episodes seem to be irrelevant to one another, yet they all focus on male powerplay, reveal the self-consciousness and moderation of the protagonist’s idiosyncrasy and depict some special aspects of the Greek male mentality. Probably Nikos Panayotopoulos’ most personal film, covering a substantial period of his generation’s years, “I’m dreaming of my friends” is based on the book by Dimitris Nollas, looks a lot like a “road movie” and features an all-male cast, as if there’s no room for women in it.

The industrial shares that Argyris Zomas bought lose their value, leading him to financial disaster. Desperate to feed his family, he will be appointed as an undertaker.