Sonia

Three men renegotiate such concepts as desertion, humanism, and freedom.

1941 and the war culminates. The wife of a lieutenant and a sergeant fall madly in love. Times and circumstances -military service, marriage, friendship between the two men- forbid this love, but do not negate it. When the lieutenant is injured and taken to hospital, the two lovers, against all odds, dare the only possible way out: he defects, she leaves her husband, and they begin a journey without return towards the border.

Three stories dealing with three men and their stance towards life, given their personal background. All stories are held in Northern Greece (Macedonia and Thrace), covering all the spectrum from urban to rural settings.

During the cold spring of 1941, with Greece already under German occupation, a long-suffering squad of war-battered soldiers receives orders from the headquarters in Athens to fall back, leaving behind the Albanian Front. As the men retreat through the snow-covered landscapes of the bomb-scarred Greek countryside, the terrifying certainty that nothing will ever be the same again crushes their weary human souls.

The story of four fellow students who fall in love with the same girl.

This film narrates six different stories in a very lyrical way: a coachman wanders around town; two elderly people go to the park every Sunday; a man leaves flowers in various neighbourhoods in memory of a friend who was killed during the war; a boy narrates how they celebrated his father’s name-day; a member of the resistance lives his last moments; a woman keeps waiting for a letter which never arrives. (Greek Film Archive)

​Two strangers, a man and a woman, meet during a brief interlude in their journeys, discovering a connection that exists only within the hours of a train delay.

A Greek documentary by Takis Kanellopoulos about wedding traditions in western Greece and Macedonia. It was filmed in the village of Velvendo.

The third part of the informal “excursion” to Macedonia – that began with Macedonian Wedding (1960) and continued with Thasos (1961) – Kastoria, with its foreign traveler on horseback seeking a fairy in the modern but rather timeless everyday life of the Macedonian city, closes a perfect cycle of uncompromising documentation right as the curtain rings down on the 1960s. Takis Kanellopoulos has now definitively exchanged history for myth (and its representation), and here he uses it as a bridge between past and present, finally mythologizing a city which, through his gaze, regains anew the characteristics of a rare Greekness, carved from Byzantine ghosts, ancient Greek outbursts, materials of soil and water that are stateless yet deeply rooted in a Greece that remains to be discovered.