Surplus Cinema Feminisms and filmmaking in the context of Greece and intertwining diasporas
Surplus Cinema

Surplus Cinema

looped screening
WE 23.11 18:00 - 23:00
TH 24.11 18:00 - 23:00
FR 25.11 18:00 - 23:00

The loop starts at 18:00, 19:30, 21:00 & 22:30.
All films are subtitled in English.

The brides of Maltepe, Eva Giannakopoulou and Persefoni Myrtsou, GR/TR, 2022, 67’

The Brides of Maltepe seek to explore verbal transcriptions of relationships and confessions evolving around four families in Greece, Turkey and Germany. Eva Giannakopoulou and Persefoni Myrtsou live between three countries and as observers and circumstantial protagonists they attempt an introspective process, examining stereotypical and prevailing structures of transnational love and maverick forms of partnership. The two women find themselves in a process of constant documentation of their personal lives, and those of their partners, children, and families. Adopting formats inspired by Greek and Turkish reality shows and soap operas, they expose with sarcastic moods their attitudes towards nationalism, sexuality, feminism and conventional notions of biography.

 

Carmela’s garden, Prokne, GR, 2018, 5’

In this video performance Prokne wonders how can sexuality have such a radical potency while it’s made out of the simplest “garments”. To imagine an answer Prokne links sex to domesticity and reproduction.

 

This is Right: Zak, life and after, Gevi Dimitrakopoulou, GR, 2020

This is Right; Zak, Life and After is a short documentary about Zak Kostopoulos, a well-known queer activist, drag queen, beloved person and the aftermath of her killing in 2018, narrated through personal accounts of his chosen family. 

 

Trud, Prokne & Filtig, GR, 2019, 3'

Trud is a video performance/comment on the capitalist production and reproduction of the self. Between welding and ironing, everything is work, labour, pain. Apart from capitalism there is also the body that sometimes produces itself and we set out hopes on it.

 

image: Prokne, Trud, Prokne & Filtig, 2019