Post production
Logline
Trapped in a forbidden affair with his stepmother, a man under the growing influence of an AI companion enters a deadly game in a desperate attempt to earn his father’s recognition.
Michel Kormanos (Georges Corraface)
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Tom Kormanos (Dimitris Passas)
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Vera Legrand (Katia Leclerc O'Wallis)
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Johnny Legrand (Harrys Tzortzakis)
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Aristides Stamoulis (Pavlos Evangelopoulos)
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On his fortieth birthday, Tom, the son of Franco-Greek businessman Michel Kormanos from his first marriage, realizes that his life has reached a dead end and falls into a profound existential crisis. In his isolation, he turns to an Artificial Intelligence—an invisible presence whose calm and consistently rational advice gradually begins to influence his decisions.
Tom’s relationship with his father has always been difficult, but it is now going through its most critical phase. At the same time, he is secretly involved in a love affair with his father’s current wife, the Franco-Greek Vera Legrand. Much younger than Michel, Vera tries to manage this situation while constantly walking a tightrope. As Tom pressures her and demands exclusivity, she refuses to change anything because, despite their affair, she still loves her husband.
Vera’s other great weakness is her brother Johnny, who is the same age as Tom and his former schoolmate. A brilliant computer expert and gifted hacker, Johnny has built the illegal online casino of mafia boss Aristide Stamoulis.
The world of these four characters is shaken when Stamoulis, who was once associated with Michel in a dark chapter of his past from which he has long since broken away, suddenly reappears, threatening and driven by revenge. He accuses Johnny of stealing vast sums of money from his online casino and warns him that his punishment will be severe.
When Stamoulis demands that Johnny pay with his life, the endurance of each family member—as well as the bonds that unite them—is put to the test. All of them are forced to look deep within themselves to resolve their inner conflicts, overturn their certainties, and risk everything in order to find a way out of the labyrinth into which circumstances and their own passions have led them.
Tom’s relationship with his father has always been difficult, but it is now going through its most critical phase. At the same time, he is secretly involved in a love affair with his father’s current wife, the Franco-Greek Vera Legrand. Much younger than Michel, Vera tries to manage this situation while constantly walking a tightrope. As Tom pressures her and demands exclusivity, she refuses to change anything because, despite their affair, she still loves her husband.
Vera’s other great weakness is her brother Johnny, who is the same age as Tom and his former schoolmate. A brilliant computer expert and gifted hacker, Johnny has built the illegal online casino of mafia boss Aristide Stamoulis.
The world of these four characters is shaken when Stamoulis, who was once associated with Michel in a dark chapter of his past from which he has long since broken away, suddenly reappears, threatening and driven by revenge. He accuses Johnny of stealing vast sums of money from his online casino and warns him that his punishment will be severe.
When Stamoulis demands that Johnny pay with his life, the endurance of each family member—as well as the bonds that unite them—is put to the test. All of them are forced to look deep within themselves to resolve their inner conflicts, overturn their certainties, and risk everything in order to find a way out of the labyrinth into which circumstances and their own passions have led them.
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Director’s Statement
At the heart of Game Theory lies a simple question: are we still free?
Game theory explores situations in which every choice depends on the choices of others while, at the same time, influencing and constraining them. This principle became the dramatic foundation of the film. Naturally, artificial intelligence found itself at the center of this reflection. More than a mere technological tool, it became an invisible character that quietly accompanies the protagonist throughout the story and, in a way, weaves the plot together with him.
Without abandoning a psychological approach to the characters, I wanted this film to remain, above all, an action film, built on deception, constantly shifting alliances, and unexpected twists. Each character believes they control the rules of the game until they discover that they are nothing more than another pawn on the chessboard. I wanted the balance of power to shift constantly, with every decision changing the game itself.
I have always been fascinated by what lies behind the screen: the invisible mechanisms through which cinema constructs its own reality. I have never been drawn to a cinema that seeks to reproduce reality. I do not belong to the school of thought that believes cinema is “life.” I prefer a cinema that consciously embraces its own artificiality.
I could describe Game Theory as a comedy in disguise, a video game like the ones Johnny creates. All the terrible things that happen resemble a rigged game, in which the characters play with genuine passion while knowing that everything is ultimately theatre, one vast stage. Like a game of paintball rather than a real battle. In this sense, the story resembles a drama in which fate pulls the strings, while the characters are powerless to change its outcome.
Game Theory draws its inspiration from genre cinema and from films such as Miller’s Crossing by the Coen brothers. I want it to remain clear to the audience that what they are watching is a film—cinema.
Game theory explores situations in which every choice depends on the choices of others while, at the same time, influencing and constraining them. This principle became the dramatic foundation of the film. Naturally, artificial intelligence found itself at the center of this reflection. More than a mere technological tool, it became an invisible character that quietly accompanies the protagonist throughout the story and, in a way, weaves the plot together with him.
Without abandoning a psychological approach to the characters, I wanted this film to remain, above all, an action film, built on deception, constantly shifting alliances, and unexpected twists. Each character believes they control the rules of the game until they discover that they are nothing more than another pawn on the chessboard. I wanted the balance of power to shift constantly, with every decision changing the game itself.
I have always been fascinated by what lies behind the screen: the invisible mechanisms through which cinema constructs its own reality. I have never been drawn to a cinema that seeks to reproduce reality. I do not belong to the school of thought that believes cinema is “life.” I prefer a cinema that consciously embraces its own artificiality.
I could describe Game Theory as a comedy in disguise, a video game like the ones Johnny creates. All the terrible things that happen resemble a rigged game, in which the characters play with genuine passion while knowing that everything is ultimately theatre, one vast stage. Like a game of paintball rather than a real battle. In this sense, the story resembles a drama in which fate pulls the strings, while the characters are powerless to change its outcome.
Game Theory draws its inspiration from genre cinema and from films such as Miller’s Crossing by the Coen brothers. I want it to remain clear to the audience that what they are watching is a film—cinema.
Cast |
Crew |
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Georges Corraface
Dimitris Passas Katia Leclerc O’Wallis Pavlos Evangelopoulos Harrys Tzortzakis Pantelis Dentakis Alexia Kaltsiki Donna King Walter Rooks Vasia Lakoumenta Angelos Frantzis Stamatis Kraounakis Karolos Zonaras Alexia Bogdanos Paola Dapei Giannis Koureas Babis Tsolakis Dimitris Kormas Stathis Simeon Christos Tsekouras Anna Maria Zonara |
Michel Kormanos
Tom Kormanos Vera Legrand Aristides Stamoulis Johnny Legrand Dapergolas AI Application Margaret Walter Kormanos’ secretary Director Composer Financial advisor Executive #1 Executive #2 Rashid Kardoush Babis Youri Stamoulis’ henchman #1 Stamoulis’ henchman #2 Flower delivery girl |
Producer
Co-producers Director Scriptwriters Co-writer Cinematography Music Editing Assistant director Executive producer Set & Costumes Camera Sound Assistant producer Assistant camera Gaffer |
Zonaras Productions
EKKOMED (Greek Film Center) Momentum Movies Karolos Zonaras Karolos Zonaras Natasha Hassiotis Panagiotis Evangelidis Francesca Zonars Stamatis Kraounakis Aliki Souma Karolos Zonaras Aliki Souma Jenny Panoutsopoulou Giannis Kritharas Manos Kalafatelis Panagiotis Psimmenos Alexandros Demertzis Alessandro Spiliotopoulos Anisa Xhomaqi Argiro Bari Giorgos Lampropoulos Dimitris Rama |
Backstage
