"Wait for me, Grandmother" is an audiovisual retelling of Charles Perrault's "Little Red Riding Hood" that challenges the tale's long-standing tradition of shifting moral blame onto its female protagonist. Responding to Perrault's erasure of the heroine's inner life, the film foregrounds her intuition through a first-person perspective, proposing that her decision to go into the woods was a product of survival instinct.
The “Serious News Broadcast" is a multimodal project that satirizes media coverage in the U.S, most notably referencing biased or propagandistic news outlets. The broadcast focuses on American political events from January 2026: Donald Trump’s capture of the Venezuelan president, ICE raids, and the U.S.’s attempt to obtain Greenland. These events were selected for being controversial, especially regarding their reframing by conservative news outlets; the news reporters are mediums of political critique and journalistic biases who often lack decorum in their reporting. The script’s development was inspired by satirical archetypes and works discussed in our course.
Peter the cat was born blind, but she lives her life just like any other cat! She can move around spaces with ease and if she needs any help navigating she communicates with her owner through touch and sound. She runs around the house and plays with different objects as all cats do. Blind cats do require a bit of extra help, but they can play and cuddle just like any other cat. Don’t feel sorry for Peter because she’s blind, she doesn’t even know she is. Adopting a cat might change your life for the better, but it will definitely change the cat’s life for the better.
ēchai Athēnōn (“Echoes of Athens”) is an audiovisual work composed of field recordings gathered from Athens, which are paired with imagined sonic and visual reconstructions of everyday life. Based on Georg Simmel’s observation that visual impressions in the metropolis are fleeting and fragmented, while sound structures social interaction, the project aims to foreground the city’s soundscape and the afterimages it creates, to reveal how everyday sensory experiences shape perception, evoke both closeness and detachment, and reflect the utopian and dystopian rhythms of urban life.
This creative project explored how easily pseudoscientific claims can appear credible when presented using familiar scientific cues. I produced a short educational-style video promoting a fabricated claim that drinking a glass of water shortly before an exam improves cognitive performance and memory recall. The video deliberately employed common pseudoscience techniques, including scientific-sounding terminology, a fabricated expert testimonial, and a visually convincing bar graph. Audience acceptance of the claim was measured through a questionnaire disguised as a standard comprehension and feedback form. Following data collection, a debriefing revealed the deception and analyzed the persuasive strategies used. The project demonstrates how superficial scientific markers can influence belief and decision-making.
This short film is an insight in the space of memory. It reflects on the traditional eating habits of a working-class family in Korydallos in the late 20th and the beginning of the 21st century. Particular emphasis is placed on homemade food, seasonal produce and notions of frugality and deprivation in times of social unrest. The film also touches upon the impact of the 2008 financial crisis and subsequent austerity measures on food access, shopping habits, and meal preparation. Economic recovery is juxtaposed to soaring food costs during inflationary waves.
This creative project looks at food as a powerful symbol of cultural identity through filmed interviews with people from Ghanaian, Greek, and Filipino backgrounds. Using ideas from Pierre Bourdieu and Claude Lévi-Strauss, it explores how food expresses identity, preserves memories, and negotiates authenticity. Participants share their thoughts on heritage, migration, and what “authentic” food means in a globalized world. Across different contexts, common themes of pride, adaptation, and a sense of belonging appear. By focusing on personal stories, the project connects theory with storytelling, showing how everyday eating habits shape and reflect racial, ethnic, and national identities.
Magical Misery Tour of India is a satirical performative piece that critiques the representation and consumption of poverty through the lens of tourism. By adopting the role of a tourist guide, the performance exposes the moral contradictions, epistemic violence, and power asymmetries involved in observing suffering from a position of privilege. Drawing on Spivak, Mbembe, Sontag, and Kincaid, the project interrogates who is allowed to speak for poverty and how spectatorship risks commodifying pain. The work challenges audiences to question whether witnessing suffering constitutes ethical engagement or detached consumption.
A city portrait of Athens as a representation of the economic market and, consequently, as a psychological pathology that unfolds from antiquity to the modern metropolis. In antiquity, the Athenian market was a symbol of community– a civic center of social and political activity that valued the seeking of ideal virtues. From the 18th century onwards, however, there is a visible and increasingly vicious shift toward a transactional, privatized, and consumerist market structure. Contemporary Athens materially reflects this shift, showcasing how it has culminated into a form of psychological pathology for the city dwellers. This degeneration is potrayed through a two-minute stop-motion animation of a collage. The pictures include: archeological artifacts, historical photographs, and personal photography. By juxtaposing antiquity’s communal markets with modern corporate ones, the video visualizes the market as a source of public-sphere decadence and impersonalization.
“Antigone’s Hegel” is a short film of a contemporary Antigone inspired by the Adrianna shipwreck in 2023 that caused 600 people to drown — a Hellenic Coast Guard that buried a child drowned by the coastguard's inaction. The film juxtaposes government statements, legislation, press excerpts and fragments of Sophocles Antigone. Hegelian Dialectic in the script is visually and textually fleshed out through juxtaposition that represents the antagonism between thesis and antithesis– aspiring to evoke a sense of synthesis to the viewer. The clash takes place in two fronts: Creon, representing the state and Antigone’s internal voice, representing the unwritten laws of justice, and between independent press and state- aligned press. It's a stream of consciousness narrative that depicts the internal dissonance generated by political argumentation.
