Τhe Greek summer, with its warm sunsets, azure seas, and picturesque islands, holds a unique place in the cinematic lexicon.  It has serves as a narrative canvas for many directors, Greek as well as international, from the lush colors of Hydra in 1957 Sophia Loren vehicle “Boy on a Dolphin” –the first Hollywood film shot in Greece to contemporary Greek kitchen-sink drama “Spirtokouto” set to the unforgiving Athens heat and the confinement of apartments. We take a look – and a virtual trip - though ten Greek films of the last decades and their varied portrayal of the Greek summer in the city and in the countryside, in all its idyllic and harsh glory.

Οι Απέναντι (A Foolish Love,1981) — Athens

On a hot Athenian July, a reclusive Astronomy student spots a disillusioned woman with his telescope, and his dull existence takes on a new meaning. Director Giorgos Panousopoulos crafts a haunting and poetic urban fable that explores loneliness, desire, and the chasm between fantasy and connection. Aris Retsos delivers a compelling performance as Harís—pale, withdrawn, and emotionally detached—while Betty Livanou imbues Stella with a quietly potent sensuality and mystery.
Τhe film turns Athens into a character itself—its heat, its isolation, and its fragments of intimacy captured in glimmers between balconies and open windows. Critically, Οι Απέναντι was a commercial success for its time, attracting over 116,000 viewers and ranking 12th among 46 Greek films of the year.

Το δέντρο που πληγώναμε (The Tree we Hurt,1986) — Chios

This film by Dimos Avdeliodis transports viewers to a summer in the 1960s on the island of Chios, specifically in its mastic villages, showing the story of young boys and very good friends who, due to an unfortunate incident, come into conflict just before school closes for the summer holidays. The film beautifully portrays childhood rebelliousness and τηε joy of adventure, the unavoidable loss of innocence, as well as the Greek countryside of 60s. It's a deeply personal work that remains emotionally resonant to this day.

Ας περιμένουν οι γυναίκες (Let the women wait, 1998)— Thassos

This film is considered the culmination of director Stavros Tsiolis' "women trilogy". Set during an August road trip to the northern island of Thassos, the film is about three brothers-in-law that embark on a journey to find their wives, encountering various situations along the way. The film explores the limits of male friendship, skillfully blending humor with sociopolitical commentary to create a bittersweet snapshot of the Greek reality of the time. A testament to its enduring appeal the film's lines have become legendary and are still popular, almost three decades after its release.

Φτηνά Τσιγάρα (Cheap Smokes, 2000) — Athens

The empty streets of August in Athens provide the ideal setting for this romantic story, which was filmed in just 23 days in August 1999. Renos Haralambidis's personal film explores an Athenian summer where love triumphs even in loss, and daily life embraces adventure on bohemian sidewalks. Its urban romanticism and nocturnal, youthful aesthetic profoundly influenced modern Greek pop culture, earning it "all-time classic" status. The film is described as a jazz improvisation, featuring characters who fall in love, curse, philosophize, and find satisfaction in the smallest things, always while smoking cheap cigarettes. It was recently adapted into a successful musical at the Alternative Stage of the Greek National Opera.

Δεκαπενταύγουστος (One Day in August, 2001) — Athens, Panagia Soumela

Konstantinos Giannaris crafts a multi-dimensional cinema of characters and intense emotions in this film, featuring reversals and transgressions. It delves into human relationships, social inequalities, and the alienation of urban life, portraying the trap of routine and the search for escape. The story centers on three couples/families who abandon Athens for their traditional summer holidays, leaving behind an empty apartment building. A 17-year-old burglar discovers an opportunity in the vacant premises, leading to three parallel stories of daily life and prayers for miracles. The film captures an untamed, anarchic, and quintessentially Greek summer, offering a metaphysical, post-Christian interpretation of human contradictions.

Τσίου (Tsiou, 2005) — Athens

Set in an empty Athens on August 15th, this film follows a young drug user, Tsiou, as he desperately tries to secure his next dose. The narrative explores themes of hope, addiction, need, fear, and frustration, portraying Tsiou as walking a tightrope with the constant threat of falling. Makis Papadimitratos, as the director, approaches this issue with depth and a human perspective that avoids condemning the protagonist. By blending sensitivity with cynicism, the film achieves a powerful portrayal, making it one of the most significant Greek films of the 2000s, Tsiou a black comedy that has been widely loved and is rewatched every summer.

Νήσος (The Island, 2009) — Sifnos

Taking viewers to Sifnos, this film by Christos Dimas begins with a wealthy notable whose death throws the island into turmoil. He leaves his fortune to the island's four leaders—the mayor, policeman, priest, and teacher—on the condition that all their well-kept secrets are brought to light. The characters, repressed by the rules of their closed society, find themselves on the brink of nervous breakdowns, clashing over desires and interests. The film uses ethnographic elements rooted in memories of a past era, underscored by the hypocrisy prevalent in modern Greece. It was one of the most successful Greek comedies of recent years, even inspiring a sequel.

Suntan (2016) — Antiparos

Suntan (2016), directed by Argyris Papadimitropoulos, is a compelling character study that uses the sun-drenched Greek island of Antiparos as both paradise and trap. The film follows Kostis (Makis Papadimitriou), a lonely, middle-aged doctor whose life unravels when he becomes infatuated with Anna, a hedonistic young tourist. What initially feels like a liberating summer fling gradually exposes his desperation, delusion, and inability to connect with the youthful vitality he envies. Papadimitropoulos contrasts the seductive beauty of the island with the grotesque unraveling of its protagonist, turning a coming-of-age premise on its head to create a captivating psychological thriller. Makis Papadimitriou delivers a deeply unsettling performance, embodying Kostis with a mix of vulnerability, awkwardness, and creeping menace that makes his descent into obsession both believable and disturbing.

Winona (2019) — Andros

This film presents a distinctive aesthetic and a vivid portrait of the Greek summer, rich in colors. On a secluded beach in Andros, four young women spend a day together, engaging in dialogues that invite reflection through unanswered rhetorical and existential questions. The film delves into themes of memory, loss, and the management of trauma, imbued with melancholy and nostalgia. Shot on 16mm film by Alexandros Voulgaris, Winona captures the sensuality emanating from light, water, and young flesh, inviting viewers to uncover the secrets hidden beneath seemingly carefree games. Sofia Kokkali delivers a notable performance, embodying her role with theatrical depth.

Κιούκα (Kyuka: Before Summer's End, 2024) — Poros

For our last entry we have a movie that was released just last year: In his assured feature debut, director Kostis Charamountanis crafts an evocative, sun-drenched fable of family, memory, and the ache of becoming who we were always meant to be. Against the idyllic backdrop of Poros, a single father and his adult twin children set sail for summer holidays—only to unintentionally confront their absent mother, now reappearing after decades. What begins as a tender, nostalgia-laced journey blooms into a bittersweet odyssey of identity, sibling bonds, and hesitant forgiveness. The result is a film both grounded and surreal—an emotionally resonant collage that lingers like the afterglow of a summer sunset.

*Featured image: from the film Κιούκα

I.L.

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Mikis Theodorakis, a name synonymous with Greek culture and political engagement, left behind an immense musical legacy, a significant part of which is his profound contribution to film scores. As we mark the 100th anniversary of his birth in 2025, we remember how the internationally acclaimed Greek composer left his indelible mark on cinema. Beyond his symphonies, oratorios, and popular songs, Theodorakis's film music earned him international acclaim, making him one the most famous Greek composers of the 20th century. His cinematic melodies, often composed under challenging circumstances like imprisonment or exile, became iconic, gracing Oscar-winning films and earning him nominations and awards from prestigious organizations such as the Golden Globes, Grammys, and BAFTAs.

Theodorakis's journey into film composition began in 1953 with the Greek-American director Greg Tallas's "Barefoot Battalion". His international breakthrough, however, came a few years later with Michael Powell's 1959 film "Honeymoon" (Luna de Miel). The film featured his recurring musical theme, the "Honeymoon Song," which later became widely known in Greece as "Αν θυμηθείς τ' ονειρό μου" (If You Remember My Dream). Such was its popularity that the Beatles even covered it in 1964.

During a prolific period for Greek cinema, Theodorakis continued to make his mark. He composed for Alekos Alexandrakis's "Συνοικία το Ονειρο" (A Neighbourhood Called 'Τhe Dream') in 1961, a landmark film for Greek cinema known for its melancholic atmosphere and the orchestral "Ο Χορός του Ρίκο". The film's standout song, "Βρέχει στη Φτωχογειτονιά" (It's Raining in the Poor Neighborhood), with lyrics by Tasos Leivaditis, was first performed by Grigoris Bithikotsis in a classic scene and became widely covered.

Theodorakis also forged significant collaborations with renowned directors. He scored Jules Dassin's "Phaedra" (1961/1962), starring Melina Mercouri and Anthony Perkins. For this film, he showcased his versatility by adopting a more jazz-oriented style, with Mercouri herself performing two notable songs: "Σε Πότισα Ροδόσταμο" and "Love Theme from Phaedra" (known as "Αστέρι μου Φεγγάρι μου"). His enduring partnership with Greek director Michael Cacoyannis began with "Electra" (1962), an adaptation of Euripides' tragedy, for which Theodorakis received a music award at the Thessaloniki Film Festival. His score for "Electra" was innovative, using elementary musical instruments to create a ritualistic rhythm and incorporating natural sounds.

In 1962, French actor and director Raymond Rouleau filmed “Les Amants de Teruel,” with Mikis Theodorakis participating in the soundtrack. The film's theme, actually the melody of his song “Ομορφη πόλη" (Beautiful City) would later acquire French lyrics and be sung by none other than Edith Piaf!

The zenith of his cinematic career arrived in 1964 with Michael Cacoyannis's "Zorba the Greek". The film, which earned three Oscars, featured Theodorakis's complete soundtrack and etched his name into global consciousness. The iconic "Zorba's Dance" (Sirtaki), performed by Anthony Quinn, remains one of the most powerful and recognizable images in cinema history, heard and danced worldwide even decades later. His work on "Zorba the Greek" earned him nominations for both a Golden Globe and a Grammy.

Theodorakis's music was deeply intertwined with his political activism, a connection evident in his cinema work. While in exile in 1969, he managed to collaborate with Costa-Gavras on the legendary political thriller "Z". Despite being in exile and unable to write music specifically for the film, he granted Gavras permission to use any of his existing pieces, which were then adapted by a French composer. Theodorakis's rich, furious, and detailed palette of sounds perfectly complemented the film, which gained immense international recognition, winning two Oscars. For his powerful score, Theodorakis was awarded a BAFTA for Best Original Music in 1970.

His second collaboration with Costa-Gavras was on "State of Siege" (1972). For this film, Theodorakis incorporated the Chilean group Los Calchakis, expressing his support for the Latin American struggle against imperialism. Although a larger work was intended, Gavras ultimately chose to cut much of the score from the film, as he wanted to avoid an overly epic tone. Later editions released the full intended soundtrack, which blended traditional Andean sounds with the vocals of Los Calchakis.

In 1973, Theodorakis cemented his Hollywood presence with Sidney Lumet's "Serpico", starring Al Pacino. Lumet specifically sought out Theodorakis, who had recently left Greece, valuing his status as a "stalwart leftist" within the European artistic elite. While on a major U.S. tour, Theodorakis provided Lumet with just 14 minutes of music that scored the film. His work on "Serpico" earned him another Grammy nomination and a BAFTA nomination. His name appeared prominently in the film's opening credits, second only to Al Pacino's and before Lumet's, a testament to his global recognition. The score uniquely blended traditional bouzouki sounds with more modern jazz influences.

Theodorakis continued his prolific work, collaborating with Cacoyannis again on "The Trojan Women" (1971) and "Iphigenia" (1977), and with Dassin on "The Rehearsal" (1974), a film about the Polytechnic uprising. In 1980, he composed the music for Nikos Tzimas's classic political film, "The Man with the Carnation," depicting the final days of Nikos Beloyannis.

Mikis Theodorakis's filmography is a testament to his unparalleled talent, featuring scores that are undeniably national and political in character, yet capable of transcending borders. His music for cinema, often penned under the most adverse conditions, traveled the globe, graced classic films from Europe to Hollywood, garnered awards, and remains as emblematic and powerful today as when it was first created.

Honors and Awards Bestowed on Mikis Theodorakis for His Film Scores

1962: Awarded at the Thessaloniki Festival for his music in Michael Cacoyannis’s film Electra.

1965: Wins the Golden Globe from the Hollywood Foreign Press Association for his music in Zorba the Greek.

BAFTA Awards (the British Academy Film Awards, the UK equivalent of the Oscars):

• 1970: Wins the BAFTA for Best Music for Z.
• 1974: Wins the BAFTA for Best Music for State of Siege.
• 1975: Wins the BAFTA for Best Music for Serpico.

Grammy Awards, presented annually in the U.S. by the National Academy of Recording Arts and Sciences to honor outstanding achievements in the music industry:

• 1965: Wins the Grammy for his music in Zorba the Greek.
• 1974: Wins the Grammy for his music in Serpico.

• Awarded the “Erich Wolfgang Korngold” prize for his overall contribution to film music.

2002: Honored with the Erich Wolfgang Korngold award at the International Biennale for Film Music in Bonn, Germany

2007: The World Soundtrack Academy honored Theodorakis with a Lifetime Achievement Award for his entire body of work in film music, in a special ceremony (October 20) at the Ghent International Film Festival in Belgium.

I.L.

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How far can oppression and despair push the human psyche? Eva Nathena’s debut feature film is an adaptation of arguably the most iconic novel in Greek literature: The Murderess (1903) by Alexandros Papadiamantis (1851 – 1911), one of the country’s most influential writers. Murderess (2023), set in early-20^th century rural Greece, follows Hadoula, a mother, grandmother and midwife, as she tries to cope against an oppressive patriarchal society.

An impressive production with a stellar cast, starring Karyofyllia Karabeti in a tour-de-force performance as Hadoula, Murderess has won multiple awards and distinctions at international festivals, including six awards at the Thessaloniki Film Festival, the Media Choice Award for Filmmaker at the Shanghai International Film Festival and five awards and 11 nominations at the Hellenic Film Academy Awards, while it continues to be screened and distinguished at film festivals worldwide. Most importantly, Murderess has been chosen as Greece’s submission for the Academy Award for Best International Feature Film.

Eva Nathena was born in Crete. She graduated from the Athens School of Fine Arts, where she studied painting under Chronis Botsoglou and set design under Yannis Ziakas. Already as a student, she was an assistant to prominent costume and set designer Dionysis Fotopoulos, gaining experience in film and theater by his side. In her long career in theater, she has designed sets and costumes for over 150 productions, from works by classical and contemporary playwrights to ancient Greek tragedies presented at Epidaurus and other ancient theaters. She has collaborated with important Greek directors including Giorgos Michaelides, Maya Lyberopoulou, Michail Marmarinos, Vaggelis Theodoropoulos, Nikos Mastorakis, Dimitris Kourtakis and Roula Pateraki.

In cinema, she has worked in 19 films, also with prominent directors, and has won the award for Best Costume Design at the Greek State Film Awards three times, for her work in Panayiotis Portokalakis’ Playing Parts (2003), Pantelis Voulgaris’ Brides (2004) and Costas Kapakas’ Uranya (2006). Her collaboration with legendary director Costa-Gavras in the production All Around is Light, presented at the Metropolitan Opera in New York, is a landmark in her career.

Nathena’s first work as a filmmaker was the short film Antigone (2022), before directing the Murderess the following year.

Greek News Agenda spoke* with Eva Nathena on her film, her perception of Papadiamantis’ messages and the experiences that have influenced her work.

What prompted you to adapt this particular work by Papadiamantis? Was it its literary value and its prominent place in Greek literature, or the sensitive subject it touches on?

 Its literary value and its prominent place had in fact always made me face it with awe and dread; what actually helped me overcome this fear was my need to understand, first, and then try to convey, what it is that Papadiamantis was writing about, as I personally felt it, and which truly spoke to my heart.

In the novel, the author focuses on the economic aspects of the position of women in traditional societies, with particular emphasis on the institution of dowry. You, however, choose to focus more on the issue of gender violence.

But violence is also the result of thinking of women as lesser; and it has been so for centuries. This berating began in antiquity; in the "Golden Age of Pericles", men voted for a law which stipulated that a man / husband directly acquires his wife’s property that was given as dowry. Let’s say that this law set a bad precedent that eventually led to this dark chapter in History.

Papadiamantis created a symbolic narrative, saying that society (personified in his heroine, Hadoula) was killing its children. In fact, he goes beyond that: he explains the reasons that lead to this act. He does not justify it, but he details the motivations behind it in psychiatric accuracy, describing what experts today define as "intergenerational trauma", and which is the cause of suffering in our times.

Why did you choose to reverse the order of the murders in the story?

Because, in literature, a climactic, irreparable act can be placed early in the narrative and still have the story unfold and reach closure, keeping the reader engaged. But in cinema this cannot be done – it would mean the end of the film. Every medium & every form of art has its own rules.

Would you say you empathize / sympathize more with the main character than does the narrator in the book?

I followed the author's lead in this; but, inevitably, through my own filter, created by my own experiences. You know, seeing clearly what this charitably prophetic writer told us 120 years ago is something that surpasses me, personally. And understanding the reasons that lead humans to extremes is like a life lesson.

The novel takes place in Skiathos, the author’s native island. You, however, chose the distinctive landscape of Mani for the filming of the movie. What influenced your choice?

Music and painting, which I studied, in that order, are the two arts that have driven my thinking and my work in any setting - not just this film. Started from the author’s formal language, I began recording the sonic landscapes that would evolve to visual landscapes. These sketches illustrated both inside & outside of me, this particular landscape of Mani & Crete.

At the first reading of the script, I told my co-workers: the formal language of Papadiamantis will be the camera in our film. So you can imagine how surprised I was -pleasantly surprised- when halfway through the rehearsals, I came upon Elytis' book The Magic of Papadiamantis and read the passage: "...as for Papadiamantis' formal language, only a camera lens, which had yet to be invented, could capture its power & richness"..!

In our film, the camera lens "translated" the writer’s language; as a visual artist, this was a risk I took, but also a deep satisfaction I gained when I saw how well it worked.

Your film has a very impressive cast of actors, with Karyofyllia Karabeti at its heart. To what extent would you say that this film is also "their film"?

It is our film, it belongs to all of us! I never claimed paternity or maternity – and anyone who does so in collaborative art forms, such as theater or cinema, is naive. Even the actors who appeared onscreen for just one minute, for that minute, carried the film on their shoulders, and I find that unique. Precious.  Karyofyllia outdid herself, but, believe me, everyone gave body and soul. I am grateful.

*Interview by Nefeli Mosaidi. Photos courtesy of Eva Nathena. Intro photo by Marilena Anastasiadou.

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Nikos Papatakis (1918-2010) was an Ethiopian-born Greek filmmaker, renowned for his subversive and provocative works. Startling, subversive, and explosively controversial, the films of iconoclast Nico Papatakis have long been frustratingly hard to see, but they constitute one of the most radical and neglected bodies of work in all of European cinema. His 1967 film, The Sheperds of Calamity, is renowned director Yorgos Lanthimos' all-time favorite film,

Born in Addis Ababa, Ethiopia, on July 19, 1918, to a Greek father and an Ethiopean mother, Papatakis spent his early years between Ethiopia and Greece. At 17, he joined Haile Selassie’s army to resist the fascist Italian invasion of Ethiopia. After After the defeat by Benito Mussolini's forces, he was driven into exile, first in Libya and then Greece, before finally settling in Paris in 1939.

In Paris, Papatakis initially worked as an extra in films and eventually owned the famous nightclub La Rose Rouge, a hub for intellectuals and artists. Performers like Juliette Gréco made their debuts there, while luminaries such as André Breton, Jean-Paul Sartre, and Boris Vian were regular patrons. During this time, Papatakis befriended Jean Genet, who dedicated his poem "La Galère" to him, “Nico, the Greco-Ethiopian God.” Their friendship was tumultuous, marked by both collaboration and conflict.

In 1950, Papatakis funded and provided the location for Genet's film Un Chant d'Amour, which, due to its explicit content, was banned but later circulated as contraband. After a three-year marriage to the actor Anouk Aimée, with whom he had a daughter, Manuela, Papatakis left for New York, in disgust at France's colonial war in Algeria 1957. There, Papatakis got to know the actor John Cassavetes, and co-produce with him Shadows (1959), Cassavetes first film as director.

While in New York, Papatakis had an affair with the German-born model and singer Christa Päffgen, who took the professional name of Nico from her lover. Papatakis would meet Päffgen near the start of the 1960s, On a lark he asked her if she had ever considered a career as a musician, and so it happened that Papatakis ended up enrolling Nico in her first singing lessons, which eventually led to her performing with the Velvet Underground.

When he returned to Paris after the Algerian War, Papatakis decided to try his own hand at filmmaking, with Les Abysses (1963), an adaptation of Genet’s 1947 play, The Maids. Both The Maids and Les Abysses dramatize the lurid story of the Papin sisters, servants who murdered their employers in the 1930s. Papatakis submitted Les Abysses to the Cannes Film Festival and the selection committee boycotted it, but after Sartre and de Beauvoir lobbied on his behalf the festival eventually screened the film to uproarious scandal.

His subsequent works continued to challenge social and political norms. Papatakis returned to filmmaking a few years later in Greece with Thanos and Despina (1967), also known as Shepherds of Calamity or The Shepherds, a tragic love story set against the backdrop of the Greek military junta. It starred his second wife, Greek actor Olga Karlatos, with whom he was active in campaigning against the regime of the Greek colonels.

Tim Markatos writes for Commonweal magazine: “Shot in striking black and white, Thanos and Despina is clearly a more refined film than Les Abysses in nearly every regard, the manic energy of that freshman film still intact but doled out in smaller doses. Papatakis made the film the same year the Greek military overthrew the government, though you’d be forgiven for assuming this tale of creeping authoritarianism must have been shot after the fact. [...] It is rare to find a movie that engages with Eastern Orthodoxy as directly as Thanos and Despina does, and rarer still to find one set entirely between Holy Saturday and Pascha, the holiest forty-eight hours in the Orthodox liturgical year ” It starred his second wife, Olga Karlatos, with whom he was active in campaigning against the regime of the Greek colonels."

According to four time Academy Award nominated filmmaker Yogos Lanthimos, The Shepherds Of Calamity is “definitely one of the greatest Greek films ever made." Similar to Lanthimos' own work, this classic film takes a simple plot and makes it strange. It tells the story of a poor farmer trying to marry her son to the daughter of a rich land owner, but through director Nico Papatakis’ eye, it becomes something bigger and weirder. “I could have never imagined something so modern, absurd, anarchistic set in a bucolic environment and made in Greece during the ’60s,” Lanthimos said of the movie. “ I’m always taken by surprise when I re-watch it.”

Gloria Mundi (1975), was a disturbing drama starring Olga Karlatos as an actor who plays an Algerian terrorist in a film directed by her husband, but who has to face degradation and torture in reality because of her belief in a revolutionary ideal. It was withdrawn when the extreme right threatened to plant bombs in the cinemas where it was showing, and had to wait until 2005 to be screened publicly again in Paris.

Papatakis' films are noted for their intense, expressionistic style and themes of power, revolution, and social upheaval. His last two films, I Photografia (The Photograph, 1987) and Walking a Tightrope (1992), further explored these motifs: The Photograph, in which an emigrant from the military dictatorship in Greece goes to Paris, was a fairly potent political allegory. According to the critic Yannis Kontaxopoulos, Papatakis's oeuvre "revolves around one single theme: the relations between master and slave, humiliation and revolution, on both a political and personal level". His last film, Walking a Tightrope, dealt with a famous gay writer who tries to make the young Arab boy he loves into the world's greatest tightrope walker. The main character, played by Michel Piccoli, was a thinly disguised version of Genet.

Nikos Papatakis passed away on December 17, 2010, leaving behind a legacy of films with expressionistically heightened style and transgressive themes. His radical and influential cinema that inspired contemporary Greek filmmakers like Yorgos Lanthimos and Athina Rachel Tsangari. Despite his films' initial obscurity - his five films were difficult to track down in English until they were restored in 2018 for a brief theatrical run in New York City - they are now accessible to new audiences, via various streaming platforms, solidifying his place in the pantheon of groundbreaking European directors.

According film critic Tim Maratos, "Papatakis would never enjoy such success in his lifetime, but it was never his intention as a filmmaker to look for it. Despite his proximity to wealth and celebrity, Papatakis’s firsthand experiences of fascism, war, poverty, and exile seem to have kept him from ever turning his desire to unsettle the audience into a brand or a means of securing funding for his next project."

In a featurette shot for the Criterion retrospective on Papatakis, Athina Rachel Tsangari recalls some foreboding advice Papatakis passed down to her at the start of her career: “Don’t try to imitate life. You’re a descendant of Euripides and Aeschylus—it’s all about creating this archetypal violence. Make the audience uncomfortable!”

I.L., with information from the Guardian, Criterion, Commonweal Magazine and Farout Magazine.

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