The best Eirini Koumarianou’s movies

The Greek army is about to set sail to a great battle, but the winds refuse to blow. Their leader, King Agamemnon, seeks to provide better food, but accidentally slays a sacred deer. His punishment from the gods, the sacrifice of his daughter Iphigenia.

Captain Andreas, a widower master learns that the planned departure postponed and the crew discovers hidden in the ship's refrigerator a girl, Marina. The company and the kind of behavior makes him take her with him to his home in Poros, which is home to the sister of Royal and two nephews. The presence of the marina there inflamed passions and causes the scheming sister, culminating when he set sail for the trip. When his ship sinks and he is considered missing, his sister declares him dead, eliminates the Marina and trying to reap his fortune with the help of their lawyer. Some time later, Andrew returns secretly finds Marina, marries her and takes her to his home, where enforce order ...

A modern day treasure hunt for a mystical relic that turns into a love story for all time.

An old communist returns to Greece after 32 years in the Soviet Union. However, things aren't the way he had hoped for.

Fourtounakis’ daughter, Katerinio, is forced to get engaged with a brutal Cretan, Skandalakis. But the return of Manousos Vrontakis from Athens and his flirtation with the girl leads to a great romance, without them knowing that they belong to families who are longstanding enemies.

Betty has become engaged, for her father’s sake, with a hard working and kind young man, Kostas, who works at a store selling electrical appliances that belongs to Betty’s father, Mr. Periklis. The latter values Kostas and truly wants to make him his son-in-law. Kostas saves the life of a sensitive girl, Mary, who tries to commit suicide because her English lover deserted her. Later on, he is persuaded to impersonate a rich Englishman in order to help Mary deal with her father, Mr. Kyriakos, who is trying to force her to marry someone against her will.

Marios was the abuser convicted. The day he is released from prison meets Danae, which he grants a villa and a luxury car with the assertion that performs the last wish of the deceased husband, for whose account was fraud.

Kostas is a law-abiding citizen, a quite man living with his mother, his sister Kaiti and his younger brother, Giorgos, who is a student. He works day and night at his kiosk, living to his bone the everyday reality and troubles of the period. He is in love with Eleni and wants to marry her, but he has to wait until Kaiti is married to Leonidas, her extremely conservative fiancé. The military coup of April 1967 forces Kostas to take the side of the winners, hanging, each time, the picture of their most powerful leader, while Giorgos joins a resistance group that sets up bombs. Giorgos’ actions puts Kostas in big trouble.

Chronis employed by a company, the chairman of which is a consequential, terrible moralist man, who is of the opinion that its employees must follow its own life and perception patterns. One day his sister Chronis, Eve, organizing home parties and invite Emilios, the president's son. Among them a fiery romance develops. The other day the president makes strict remarks to Chronis, who expects nothing anymore his dismissal ...

A director of a travel agency goes with her niece to Greece for holidays and business, there they meet a Greek company of men trying to "catch the good".

One of filmmaker and expatriate writer Adonis Kyrou's best-known quotes translates roughly as "I urge you: Learn to look at 'bad' films, they are so often sublime." The same could be said of Kyrou's own directorial work in Greece before the advent of the 1967 dictatorship forced him to flee to Paris. This confused mess, the first cinematic attempt at portraying the Greek resistance in WWII, caused quite a stink upon release, as much for its surprising style (recalling that of Bertolt Brecht) as for its subject matter. Reaction to its screening as part of the 1966 Cannes Film Festival's International Critic's Week was heated and divisive, proving Kyrou's later statement by rising above its own inherent silliness to achieve a sort of rarefied critical status. It's bad drama that nonetheless succeeds by dint of audacity more than quality (a comment which could apply equally to the work of many exploitation directors like Jean Rollin whom Kyrou later so lovingly profiled).