He’s coming from the past and is almost dead.
Singapore Sling is the “broke, homeless and friendless” sort of guy, who is always chasing after lost causes bearing women’s names, which lead to nowhere.
His goes by the name of Laura and he met her years ago. Although he has a hunch that the girl he is looking for has been dead for years and that he is in love with a corpse, he continues to search for her.
One rainy, stormy night, wounded and with nothing more to loose, Singapore Sling arrives at a house, believing that Laura may be there. But in the darkness of the night and around an open hole in the garden, two women are trying to bury a dead man… and Singapore Sling, with a bullet in his shoulder, can’t do much.
With the hope that Laura is still there, he waits till daybreak to enter the house.
Yet things don’t turn out the way he expected…
Best Actress (Meredyth Herold)
Best Cinematography (Aris Stavrou)
Best Art Direction (Marie-Louise Bartholomew)
Directed by: Nikos Nikolaidis
Written by: Nikos Nikolaidis
Produced by: Marni Film, Cinekip, GFC, Nikos Nikolaidis
Producer: Marie-Louise Bartholomew
Executive Producer: Nikos Nikolaidis
Cast: Meredyth Herold, Michele Valley, Panos Thanassoulis
Cinematography: Aris Stavrou
Editing: Andreas Andreadakis
Sound: Argyris Lazaridis
Casting: Avet Sfakianaki
Art direction: Marie-Louise Bartholomew
Sets-Costumes: Marie-Louise Bartholomew
Makeup: Daniele Vuarin
Assistant directors: H. Konstantinidis, Dimirtris Niachas
Camera assistants: Yorgos Argiroiliopoulos, Dimitris Polykratis
Production assistant: Aleixis Valsamis
Sets-Costume assistant: Stelios Rogakos
Art department: Tassos Kitsos, Antonis Livanis, Pavlos Houtas
Prop master: Thanasis Morfopoulos
Music: Rachmaninov, De Wert, Glenn Miller: “LAURA” Julie London: “LAURA”
Image Lab: Cinemagic Studios
Sound Lab: SOUND STUDIO
Sound technician: Nikos Despotidis
Runtime: 115 min
Language: English, Greek, French (with subtitles)
Printed film format: 35mm
Aspect ratio: 1.66:1
Sound mix: Mono
Athens, Greece, 1990
“When I was shooting “Singapore Sling”, I was under the impression that I was making a comedy with elements taken from Ancient Greek Tragedy…
Later, when some European and American critics characterized it as “one of the most disturbing films of all times”, I started to feel that something was wrong with me. Then, when British censors banned its release in England, I finally realized that something is wrong with all of us.”