Loxandra is a Greek mother and wife living the ordinary life of a well to-do Greek family in Constantinoupolis of the late 1800s-early 1900s, a world gone forever. Historical events intrude in the background -revolutions, palace coups, massacres, and the great upheavals of WW1 in which Greeks saw their wildest hopes fulfilled, then dashed: for a brief time Constantinoupolis itself was regained, then lost along with all Asia Minor. Through troubles great and small, Loxandra's simple optimism, belief in her Virgin Mary, and love of life carries her family past every difficulty - be it a sumptuous dinner for Easter or secretly giving away her savings to help persecuted Armenians. A representation of a time and place where all neighbors were friends, where they could cook in each other's kitchens or take shelter in each other's cellars.

Days of '36 is a historical drama set in 1936 Greece during the interwar period. It tells the story of a politician who gets involved in a plot to assassinate a trade unionist. The plot also involves drug trafficking, with the politician becoming an informant for the military dictatorship. The movie explores themes of power, betrayal, and the struggle for freedom.

A young man who grew up beneath the heavy shade of autocratic and avaricious mother, son Gregory, has lost initiative and the minimum footprint. The servility of his mother against his boss, which facilitates the solicitations of the latter to his sister, infuriates him. The fiancée, Soula, can not understand his sexual desires and his girlfriend, Julia, the only one that loves him really forced to abandon him. Gregory wonder with all this and rebels, but his rebellion brings him to the brink of madness. When you finally meet, forced to follow the commands of the mother and uncle ultraconservative so he marries the woman who suggest those.

"4th century AD and a brilliant craftsman of Dionysus, Timothy, organizes a performance of Euripides' Bacchae, rousing the people against the emperor. Lazarus, the Cappadocian, is sent to suppress the rebellion and arrest the heretic. We are in the years of the total establishment of Christianity, in a climate full of sects, conspiracies, conflicts of power and personal ambitions, in the city of Antioch, which was the last cradle of the Greek education of the Gentiles."

An adulterous woman and her lover plot to murder her husband Kostas and make it look like a yachting accident. However, unknown to them, Kostas has hired a private detective to follow them and knows of their plans in advance. A deadly game of double-crossing begins and propels all three of them towards tragedy.

As a coincidental event unites a publisher and a hospital manager, sinister revelations entangle the couple with the aspiration of an editor-in-chief. Will he unearth the truth? After all, almost everybody has a skeleton in the closet.

What was this woman? The tragic victim of the SS or the female executioner of the Hitler's camps? What was it all about? A satan or an angel? Why, in peacetime, the old nightmares come back and drift into this shocking adventure of love, hatred and action with an unexpected ending?

A provincial café owner, Mimis, abandons his village in Chalkidiki and comes to Athens in search of a better life. He pretends to be a tough guy, a know-it-all, and behaves like an “antisocial”. With the help of a friend of his from the army, Aristeidis, he tries to set up his own business. At the same time, he falls in love with a seamstress, Toula, who is the sister of Aristeidis’ wife. Then comes the wedding, the everyday obligations, and Mimis is forced, with great resentment, to work as a waiter to make ends meet. When he get fired, however, his relationship with Nitsa is put to the test.

With a title that expresses the connection/disagreement of bios (βίος) = life, and graphi (γραφή) = writing, this film of Rentzis has as a subject “the passage from homo universalis to homo industrialis”. Based on a visual material provided by the collage book of the Basque Chumy Chúmez, the film forms, out of cultural deposits of the industrial era, a novative oneirographic discourse, through the audacious and unprecendeded claim of a combinatorial optimization of collage/montage techno-poetics. Viewing the body as historical ideotype ‘the sublime point of reference, a matrix and a refusal of all signs’, Rentzis, dissects the body of film, makes an inter-parody of historical utopias and certainties and moves between animation and expanded cinema in order to reflect on the broader social, political question of our social coexistence condition, the unity and rupture.