Euridice lives imprisoned inside a metaphorical hell-house, in a country ruled by a dictatorship regime.
Having already served her time, she is waiting to be transferred “somewhere else”. However, the State Processor in charge of the prisoners transfers has been mocking her for days… maybe even years.
A long lost lover (Orpheus), contacts her asking to see her again. Euridice accepts, hoping that something will change yet she is also afraid of any changes.
Orpheus arrives, not as a savior but as the new face of death.
Euridice will kill him and will remain in her personal hell forever.
Directed by: Nikos Nikolaidis-Marni Films
Written by: Nikos Nikolaidis
Produced by: Nikos Nikolaidis
Executive Producer: Marie-Louise Bartholomew
Cast: Vera Tschechowa, John Moore, Niki Triandafillidi
Cinematography: George Panousopoulos
Editing: Giorgos Triandafyllou
Sound: Panos Panousopoulos
Production design: Marie-Louise Bartholomew
Sets-Costumes: Marie-Louise Bartholomew
Assistant director: Andreas Tsilifonis
Camera assistant: Danny Kalavros
Dubbing-Mixing: Thanassis Arvanitis
Music: Vivaldi, Chopin
Sound lab: Studio Ecran
Runtime: 105 min
Language: Greek (with subtitles)
Printed film format: 35mm
Sounio, Greece, 1975
“The film was completed in 1975 but it took six years for Greek cinemas to present it. Meanwhile, this was only days after a major earthquake…
Consequently, I realized that the audience this film appealed to was a “reckless” one, made up of people who willingly huddled into the basement of the movie theater “Alkyonida”. Driven cinephiles, which ignored the published critics (disregarding both good and bad reviews, because – we all know how the critics system works by now). Well, there are very few things one could say to a “reckless” audience so I decided to copy a short note that I had written for the 1975 Thessaloniki Film Festival.
“There is a certain risk involved, when the director writes a short introduction in his effort to introduce the film’s meaning to an audience that hasn’t seen it yet… Some of the problems, which arise because of “short introductions” are:
1. The director tries to point out the (completely non–existent) elements, (which he would have liked to include in his film but wasn’t able to).
2. The director limits the audiences’ participation, thus he imposes on the method of communication.
3. The director pre-determines the film’s functions thus works against the independence of his own creation.
So, the only purpose of a short introduction is to stimulate. Nothing more…”
Certain intellectual Italian critics asserted that “Euridice BA 2037″ applies and finally proves Lyotard’s cinematographic theories as well as the solution to many of the problems which puzzled Pasolini’s for years.
I am embarassed because I didn’t know then and I still don’t know anything about Lyotard’s theories or Pasolini’s problems.”