Drama Film Lab
48th Dram International Short Film Festival – 2025
Arapina Treat
When I was invited by the DISFF Vice President Mr P. Paraskevaidis to teach at the Festival’s filmmaking workshop, I accepted immediately. I like Drama. It was at this Festival that I took my first steps in cinema, and over the past four years, my relationship with the city has grown, being the head programmer of the National Student competition section. Later, I realised I had no clear idea of what I would actually do in this workshop. I knew that several people had expressed interest, but I did not know their background. I vaguely assumed – since I didn’t know any of them – that if they applied, they must be interested in Cinema. The workshop’s expected outcome was a short film script, which would then be filmed under the guidance of V. Loules. It had to be written within three to four months; a very limited timeframe. Extremely limited. Then I met the participants. A group of thoughtful, cultivated individuals, eager to tell and listen to stories, ready to share their narratives with everyone, to receive and offer criticism, to suggest ideas and collaborate. Most of their stories were set in Drama and the surrounding areas. They touched upon major tragedies and everyday life, with protagonists who carried secrets (sometimes even from themselves), who betrayed or felt betrayed, with endings steeped in pessimism or disarmingly luminous. Through their stories, I had the opportunity to rediscover Drama. To understand its people a little better and grow even fonder of them. In one of these stories, an elderly woman asks her daughter to bring her an Arapina sweet. A discussion followed. I had no idea what kind of sweet it was nor why the woman insisted on it. The scriptwriter explained that it was a local dessert from Drama, and we moved on with the analysis. Some time later, during the final session, as we were getting ready to leave, the scriptwriter asked me to wait: she wanted to ride her bike somewhere nearby and come back, she had to bring me something. While we kept saying our goodbyes – as if we didn’t really want to – we set a date for the Festival in September. Then the scriptwriter returned, holding a box of Arapina sweets.
Panagiotis Iosifelis
Screenwriter
Professor at Aristotle University of Thessaloniki
Absence and Presence
I first set foot in the city of Drama on 5 November 1990. My first short film, Absent, was scheduled to be the opening film in the Festival programme that day. It was raining, it was cold, and the sky was heavy. I felt awkward and anxious — it was my first time at a Festival. It also happened to be my birthday, both literally and metaphorically: I was born on that day, which also marked my birth as a filmmaker. Despite the mishaps that occurred during that afternoon screening, I survived the “traumatic” experience. I grew deeply fond of the Festival and, from that year until 2010, I was there every year, marking only four absences. My second short film The American (1993) and especially my third, A Shining Sun (2000), were well received, earned awards, and offered me some beautiful and powerful emotions. Over the years, whether as a spectator or as the Coordinator of ERT’s “Microfilm” programme, I witnessed the Festival’s coming of age and the rise in quality of Greek films, which could now stand confidently alongside international ones. You could see films made by young filmmakers who clearly knew the tools of cinema. Many of them were cinematic gems, films with a personal voice and vision. There were also films that displayed technical excellence and academic proficiency, but lacked soul. You couldn’t grasp the filmmaker’s true motivation or personal urgency behind the making of the film. Yet right next to them, you would discover some still-inexperienced filmmakers who might have fumbled the grammar of cinematic language but managed, through sheer personal drive, to weave together raw materials and create films with meaning. These very materials — passion, curiosity, thirst for learning, risktaking, the personal need to tell a story — are precisely what I attempted to uncover and nurture in the amateur filmmakers of Drama who participated in the 2025 Drama Film Lab, organised by the Cultural Organisation of the Drama International Short Film Festival. I may have started my journey in Drama 35 years ago with the film Absent, but this time I was Present! to the honourable invitation extended by the organisers. Together with the participants, we worked for months and succeeded in completing films infused with the joy of creation. For most of them, these were their very first attempts, whereas many of them had never studied Cinema. Beyond the filmmakers themselves, who come from Drama, the films also feature the city and the surrounding countryside, with fragments of local history woven into their narratives. The actors, whether amateur or professional, are all local residents. These are films that, alongside the Greek and international entries of the Festival, enrich the gaze of the audience, inviting viewers to discover the people and the face of Drama: a city that declares itself present not just in attendance, but also in creativity.
Vassilis Loules
Film Director
The following films will be screened
Tuesday 9.9.2025 – 22:00 – Arrenon Gymnasium
*Rain venue: “Konstantinos Karamanlis” amphitheatre, Drama Administration Building.
The Bird and the Cage 8’
Written by: Marios Kaloudis
Directed by: Panagiotis Peikidis
The Act of Forgiving 13’
Written & Directed by: Melisa Anna Kioktsemen
The Choice 11’
Written & Directed by: Yanna Karagaitani
Yoghurt 10’
Written by: Maria Kiorteve
Directed by: Marios Rossolatos
Don’t be Afraid 12’
Written & Directed by: Yorgos Papadopoulos
Under the Tree 14’
Written & Directed by: Alexandros Vamvakidis
Feralis 19’
Written by: Sofia Charalampidou
Directed by: Alexandros Triantafyllidis & Sofia Charalampidou
A Breath 16’
Written & Directed by: Eleftheria Kalpaki
My Position 10’
Written by: Myra Koskeridou
Directed by: Christina Kypraiou