Aimilios Veakis

In a village in the Peloponnese, on the slopes of Mt. Chelmos, lives rich sheep owner Mitros with his wife Asimina, his son Thymios and adopted daughter Astero. The children love each other, but Mitros betroths Astero to Stamos, another rich sheep owner. When Stamos is killed and Astero loses her mind, Mitros, watching his son wither away, tells him that his entire fortune is Astero's and urges him to marry her.

A marginal guy, Tony, returns from America and, in a nightclub, he meets his old love, who has become a prostitute for his sake, abandoning her husband and child. Tony tries to take advantage of his friend's daughter, who is about to get married to a rich young man.

Costas is known as the "Prince". Now that he has learned of the arrival of the Greek-American Paralis and his daughter Vera, for whom Paralis is looking for an aristocratic groom, he decides to appear before him as a real prince.

Mr. Spyros is released from prison after having served time for the murder of his wife's lover. He accidentally meets a young couple who want to get married, but the mother of the girl is against the marriage. When Mr. Spyros realizes that the girl is his daughter and her mother his wife, he makes an important decision.

A young couple's romance comes to a tragic end.

Maria, a beautiful girl, baptized by Father Gavriil, joins gang leader Davelis and returns to her village to take revenge on the people who had treated her badly.

In 1821, in Cinema, he records the cinematic representations of the Revolution from the first decades of the 20th century. until the present day. Despite the fact that the Revolution of 1821 constitutes the founding act of the modern Greek state, as a subject matter it is underrepresented in national film production. This is one of the points on which the research looks, which simultaneously examines the periods of concentration of films on the subject of the Revolution or, respectively, the periods of its collective silence. The purpose of the documentary is to study the ideological discourse and the cinematic language of the films with the theme of 1821, in order to highlight the function of the cinema as a carrier of Public History and as a factor in shaping the collective historical consciousness.

Η ανθοπώλις των Αθηνών