- Festival International de Cinéma Indépendant de Casablanca (April 2025, Morocco)
- New York Film &Cinematography Awards (04/08/2024, USA) --> Best Fantasy
- Les Rimbaud du Cinema 2024 (27/06/2024, France)
- Nomination for the Iris Awards 2024 of the Hellenic Film Academy (26/06/2024, Greece)
- Hollywood Best Indie Film Awards (16/05/2024, USA)
- Life Beyond Life Film Festival (15/05/2024, Italy)
- Greek release (07/03/2024)
- Liverpool Indie Awards (23/02/2024, England)
- London Director Awards (31/01/2024, England) --> Honorable Mention
- 22° Chicago Indie Film Awards (29/12/2023) --> Best Science Fiction
- 13° Buenos Aires International Film Festival (December 2023, Argentina)
- 36° Panorama of European Cinema (3/12/2023, Greece)
- 64° Thessaloniki International Film Festival (6/11/2023, Greece)
Logline
Following the mystery of their deaths, Father and Son are reunited in Tranzit, an arid and desolate non-place, a kind of contemporary Dantesque limbo regulated by abstract mathematical principles, where the dead face a dilemma: accept the dematerialization process or remain in indeterminacy forever.
Here, the memories of the Father are confused with those of the Son, rekindling old conflicts. Trying to bring order to the past and shed light on what led to his death, the Father relies on his knowledge of mathematics to pursue a crazy idea: to come back to life.
Here, the memories of the Father are confused with those of the Son, rekindling old conflicts. Trying to bring order to the past and shed light on what led to his death, the Father relies on his knowledge of mathematics to pursue a crazy idea: to come back to life.
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Director's note
The film is in black and white, in the style of existential cinema of the 50s and 60s. The purpose of this choice was to highlight the gloomy landscape and the posthumous path of the heroes, so that the viewer could "immerse" in their emotional state without the comforting effect of colour. The harshness of the landscape is best captured in black-and-white, as the loss of colour has the advantage of removing the viewer from the safety valve of realism and effortlessly drawing them into a transcendent quest. Accordingly, the style had to be ascetic, austere, and the words looked as if they had come out of theological discussions in some medieval monastery.
I tried to approach a subject, about which there are many interpretations and opinions, (given that no one knows the reality of the afterlife landscape), moving between belief, theory, irony and drama.
The silence, the eye contact, the pauses, the uniformity of the clothes, the makeup, everything was intended to intensify the roughness, the agony, to underline the pain, but also to contribute to the creation, I hope, of a poetic image.
I tried to approach a subject, about which there are many interpretations and opinions, (given that no one knows the reality of the afterlife landscape), moving between belief, theory, irony and drama.
The silence, the eye contact, the pauses, the uniformity of the clothes, the makeup, everything was intended to intensify the roughness, the agony, to underline the pain, but also to contribute to the creation, I hope, of a poetic image.
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Cast |
Crew |
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Pantelis Dentakis Geo Pakitsas Maria Koumpani Grigoris Galatis Dimitris Poulikakos Dimitris Karaviotis Sofia Kapsourou Meletis Georgiadis Vasso Kamaratou Andreas Marianos Katia Leclerc O'Wallis Takis Sakellariou |
Director Scriptwriters Executive producer Assistant director Cinematography Editing Sets&Costumes Make-up and Hairstylist Assistant Production Camera operators Sound Sound design/Mixing |
Karolos Zonaras Karolos Zonaras Natasha Hassiotis Natasha Hassiotis Dora Vogiatzi Francesca Zonars Eleni Togia Giannis Kritharas Marianna Moutsou Zoï Drakopoulou Manos Kalafatelis, Artemis Konstantinou Aris Pavlidis Kostas Bokos |
Press
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