{"id":4902,"date":"2025-12-08T18:17:41","date_gmt":"2025-12-08T15:17:41","guid":{"rendered":"https:\/\/lab.thodoristsirkas.com\/eak\/events\/sinema-anoichto-zeta-floretta-niki\/"},"modified":"2026-01-27T12:37:40","modified_gmt":"2026-01-27T09:37:40","slug":"sinema-anoichto-zeta-floretta-niki","status":"publish","type":"events","link":"https:\/\/hellenicfilmacademy.gr\/en\/events\/sinema-anoichto-zeta-floretta-niki\/","title":{"rendered":"ZETA, FLORETTA, NIKI"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\"><strong>Patriarchy, Matriarchy, #\u039ce\u03a4oo, 50\/50, Cancel Culture, and Greek Cinema. A five-day tribute screening program&nbsp;sparked debate on how an entire era was captured on film. A collaboration between the Hellenic Film Academy and&nbsp;<a href=\"https:\/\/www.onassis.org\/whats-on\/zeta-floretta-niki\" target=\"_blank\" rel=\"noreferrer noopener\">Onassis Stegi<\/a>&nbsp;as part of the \u201cOpen Cinema\u201d initiative.<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">How did Greek Cinema capture times past \u2013 and are they really past? How did it foretell a time of change \u2013 and are things really changing? How have Greek filmmakers negotiated the concepts and terms that are precipitating dynamic change in the public sphere, and redefining long-entrenched attitudes? \u201cOpen Cinema\u201d \u2013 a series of events jointly organized by the Hellenic Film Academy and Onassis Stegi \u2013  presented the five-day tribute program \u201cZeta, Floretta, Niki\u201d.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The tribute took its title from the first names of three actors who starred in the \u201cAmok\u201d \u2013 Zeta Apostolou, Floretta Zanna, and Niki Triantafillidi. Three women who, at the time of the film\u2019s release and for many decades afterwards, faced what today is considered reprehensible criticism and defamation for appearing in the feature. <\/p>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\"><strong><em><a href=\"https:\/\/youtu.be\/_eF-dDEt6fo?si=N5NQgSAoSpTEWsmU\" target=\"_blank\" rel=\"noreferrer noopener\">TRAILER<\/a><\/em><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1400\" height=\"667\" src=\"https:\/\/hellenicfilmacademy.gr\/wp\/wp-content\/uploads\/2025\/12\/7395fed1727b9e615b9f1ef271b8074d_XL.jpg\" alt=\"\" class=\"wp-image-4252\" srcset=\"https:\/\/hellenicfilmacademy.gr\/wp\/wp-content\/uploads\/2025\/12\/7395fed1727b9e615b9f1ef271b8074d_XL.jpg 1400w, https:\/\/hellenicfilmacademy.gr\/wp\/wp-content\/uploads\/2025\/12\/7395fed1727b9e615b9f1ef271b8074d_XL-700x334.jpg 700w, https:\/\/hellenicfilmacademy.gr\/wp\/wp-content\/uploads\/2025\/12\/7395fed1727b9e615b9f1ef271b8074d_XL-768x366.jpg 768w\" sizes=\"auto, (max-width: 1400px) 100vw, 1400px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Films that enter into discourse with gender issues, and capture instances of a violence that has been condemned and brought firmly out of the shadows by the #MeToo movement; films that encounter various forms of Patriarchy, but also Matriarchy; films that are strange and painful, fierce and, in some cases, funny; films that not only enquire into Cancel&nbsp;<a href=\"https:\/\/www.onassis.org\/culture\/\">Culture<\/a>&nbsp;but also shed light on the 50\/50 gender parity pledge \u2013 that is, the underrepresentation of women in cinema. These screenings connected what once was with what now is, sparking discussion about vital and pressing issues of our times.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The multiple personalities of a woman a little before her death appear in&nbsp;<a href=\"https:\/\/www.onassis.org\/people\/antoinetta-angelidi\">Antoinetta Angelidi\u2019s<\/a>&nbsp;\u201cTopos\u201d (1985). Average, everyday men and women are trapped in&nbsp;<a href=\"https:\/\/www.onassis.org\/people\/pavlos-tasios\">Pavlos Tasios\u2019<\/a>&nbsp;\u201cRequest for a Song\u201d (1980). An individual is subjected to the violence of money, family, and social class in&nbsp;<a href=\"https:\/\/www.onassis.org\/people\/tonia-marketaki\">Tonia Marketaki\u2019s<\/a>&nbsp;\u201cThe Price of Love\u201d (1984). Love, death, and dark humor reign supreme in \u201cSingapore Sling\u201d (1990),&nbsp;<a href=\"https:\/\/www.onassis.org\/people\/nikos-nikolaidis\">Nikos Nikolaidis<\/a>\u2019 ultimate film scandal.&nbsp;<a href=\"https:\/\/www.onassis.org\/people\/dimitris-stavrakas\">Dimitris Stavrakas<\/a>\u2019 \u201cBetty\u201d (1979) gives us the portrait of a trans woman some 40 years before the legal recognition of gender identity. A family flounders, cheerful and absurd, overturning prevailing stereotypical and moralizing attitudes, then validating them, then overturning them once more in&nbsp;<a href=\"https:\/\/www.onassis.org\/people\/dinos-dimopoulos\">Dinos Dimopoulos<\/a>\u2019 \u201cA Crazy\u2026 Crazy Family\u201d (1965). Love comes as a reaction to a world grown intractable in&nbsp;<a href=\"https:\/\/www.onassis.org\/people\/alexis-damianos\">Alexis Damianos<\/a>\u2019 \u201cEvdokia\u201d (1971). A father who sees himself as master of his children sets them deadly traps in&nbsp;<a href=\"https:\/\/www.onassis.org\/people\/george-stamboulopoulos\">Yiorgos Stamboulopoulos<\/a>\u2019 \u201cCaution, Danger!\u201d (1983). A lower-middle class Greek family is set to burst into flames in Yannis Economides\u2019 \u201cMatchbox\u201d (2003).&nbsp;<a href=\"https:\/\/www.onassis.org\/people\/giorgos-katakouzinos\">Giorgos Katakouzinos<\/a>\u2019 \u201cAbsences\u201d (1987) depicts gender and the roles within a bourgeois family with an uncommonly high level of tension. Two sisters face up to their passions and loneliness in \u201cLove Wanders in the Night\u201d (1981) by&nbsp;<a href=\"https:\/\/www.onassis.org\/people\/frieda-liappa\">Frieda Liappa<\/a>, one of the most important directors of the 80s, who would see her entire career devastated by savage and sensationalist tabloid television journalism. An agent flouts the rules in&nbsp;<a href=\"https:\/\/www.onassis.org\/people\/athina-rachel-tsangari\">Athina Rachel Tsangari<\/a>\u2019s \u201cThe Slow Business of Going\u201d (2000). Theo Angelopoulos\u2019 \u201cThe Beekeeper\u201d (1986) offers us a relationship open to multiple interpretations, and a chronicle of the 1980s that enters into powerful discourse with the present day. Last but not least, terror, sexual violence, and fierce leads \u2013 both male and female \u2013 are examined under the hot sun in Dinos Dimopoulos\u2019 \u201cAmok\u201d (1963).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The films were introduced by their creators, and by filmmakers, film critics, and journalists. In addition to these screenings, audiences also had the chance to enjoy excerpts from films honored at the Hellenic Iris Awards since 2009, on screens set inside the Onassis Stegi foyer: shots, scenes, and fragments of dialogue and imagery created by contemporary exponents of Greek cinema that mirror, supplement, or upend the films and themes of the tribute program, entering into lively discourse with the featured works or else directly inspired by them.<\/p>\n","protected":false},"author":5,"featured_media":4253,"template":"","meta":{"_acf_changed":false,"footnotes":""},"event_categories":[],"class_list":["post-4902","events","type-events","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>ZETA, FLORETTA, NIKI - \u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ae \u0391\u03ba\u03b1\u03b4\u03b7\u03bc\u03af\u03b1 \u039a\u03b9\u03bd\u03b7\u03bc\u03b1\u03c4\u03bf\u03b3\u03c1\u03ac\u03c6\u03bf\u03c5<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/hellenicfilmacademy.gr\/en\/events\/sinema-anoichto-zeta-floretta-niki\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"ZETA, FLORETTA, NIKI - \u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ae \u0391\u03ba\u03b1\u03b4\u03b7\u03bc\u03af\u03b1 \u039a\u03b9\u03bd\u03b7\u03bc\u03b1\u03c4\u03bf\u03b3\u03c1\u03ac\u03c6\u03bf\u03c5\" \/>\n<meta property=\"og:description\" content=\"Patriarchy, Matriarchy, #\u039ce\u03a4oo, 50\/50, Cancel Culture, and Greek Cinema. A five-day tribute screening program&nbsp;sparked debate on how an entire era was captured on film. A collaboration between the Hellenic Film Academy and&nbsp;Onassis Stegi&nbsp;as part of the \u201cOpen Cinema\u201d initiative. How did Greek Cinema capture times past \u2013 and are they really past? 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