2x3 asymmetrical

Avant-Drag! paints portraits of ten drag artists of varying gender expressions and sexualities who take to the streets of Athens to query, problematise and (yes, please!) undermine social strictures. Employing wildly imagined personas – like riot housewives and Albanian turbo-folk girls – who perform acts as revolutionary as praising abortion and as charming as drawing childish pictures, these artists call for social justice by taking aim at conservatism, patriarchy, patriotism, racism and sexism.

A man and a woman meet at a karaoke bar. He stands awkwardly on stage. She rushes in to save him. Just as suddenly as she entered his life, she disappeared. Forever. Now he is left to cope with her loss while carrying on with his work—he runs a funeral home.

A coming of age story about two sisters leading their lives in pole positions, who are summoned to a night's call of decision making. In a frantic attempt to truffle out money, they come up against visions of both a traumatic past and a disturbing reality, while realizing how difficult it is for a family to make ends meet.

Nina knows why her grandfather hates her – obviously because she’s a lesbian. Time to come clean. In the weirdest car ride of their lives, Nina and Stathis will have to finally talk to each other whether they like it or not.

A haunting experimental stop-motion animation that reveals the violence of heteronormativity, gender and patriarchy on trans bodies. Erma, neutral: Principles or motives that guide one's behavior or actions. A film about gender, the body and all their intertwining moments in between. Through an abstract stop-motion / body horror narrative point of view it attempts to highlight the continuous process and struggle of the construction of gender subjectivity against the oppressive power of heteronormativity. From birth to death the error in the code of patriarchy is subjugated and resisted, emerging but also trapped by the erinyes of the social. With an ironic and critical mood and intense religious symbolism, Erma highlights the contradictions of gender composition both in the field of solitary subjectivity and in the dominant heteronormative narrative. Gender identity is a war waged in the trenches of the body.

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.

Two sisters go to their summer home after their mother's death. The "tranquility" of their lives will be disturbed by a group of young people with their caravan and a researcher's account of the creation of the petrified forest.