Elli Nalmpanti

Shortly after she finds herself in the main departure hall of the airport, a young woman will remember the forgotten story of her childhood. "When we grow up, me and dad, we're going on a trip to Australia." The airport terminal as the closed space where we spend our last moments. A modern Acheron. It may be so...

Three characters attempt to reproduce, comprehend and uncover details of their stories through senseless actions. Three external landscapes depict three internal thought processes. The experience is not a reflection of reality but a quirky distortion.

Hermetically sealed and sunk in non-chronological qualities of time, the experience of the wound is always relived torturously, quoting a series of dualities: immobility-movement, inactivity-activity, absence-presence, alienation-proximity, pain-pleasure. Seven long takes represent the wound as something that probably pre-exists and then takes place in an (anti-)erotic situation.

In a deserted place, the pumps work hard to prevent the flood disaster. When a group of refuges comes to the village, locals are disrupted and things inevitably change.

The Girl follows her simulation on paths between hills, until the sun leaves her. In this poetic monologue she realizes her weaknesses to get away from the cave of herself.

After their boss disappears, wanted for murder, the staff of a fading nightclub take part in a documentary that forces them to confront the events of that fateful night.

Sali, a young man of Albanian origin, has dropped out of school and works at greenhouses. He wants to save enough money to go through the tryout process of Juventus Academy. But to realize his dream, he must first overcome a series of hurdles in his harsh daily life.

The story concerns Menelaus, who, fifteen years after the brutal murder of his parents, decides to take revenge, breaking into the abuser's house and violating his sanctuary.