Experiencing Interruptions?

In Cold Love

A woman stays home while her husband "works late." She taps into his phone, confirms he's with someone else, and quietly prepares for his return.

  • Yorgos Keramydas
    Director
  • Yorgos Keramydas
    Writer
  • Yorgos Keramydas
    Producer
  • Yorgos Keramydas
    Key Cast
  • Chryssa Thessalonikiou
    Key Cast
  • Project Type:
    Short
  • Genres:
    Drama, Psychological Drama
  • Runtime:
    3 minutes 44 seconds
  • Completion Date:
    October 30, 2025
  • Production Budget:
    50 EUR
  • Country of Origin:
    Greece
  • Country of Filming:
    Greece
  • Language:
    Greek (Modern)
  • Shooting Format:
    Digital
  • Aspect Ratio:
    16:9
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    Yes - Hellenic Open University
  • Digital Cinema Package:
    Unavailable
Director Biography - Yorgos Keramydas

Yorgos Keramydas is an emerging filmmaker from Ptolemaida, Greece. His work is rooted in dark psychological storytelling, visual narration, suspense, and emotionally restrained characters. Since his early encounter with Alfred Hitchcock’s Psycho, he has been drawn to films that create tension through atmosphere, silence, and suggestion.

He has directed several student and independent short films, frequently working across writing, directing, cinematography, editing, music, and color grading. This self-sufficient process has shaped a visual style focused on controlled compositions, symbolic objects, psychological unease, and the expressive use of light, rhythm, and sound.

He completed three years of theatre and acting workshops, with training in body and voice work, improvisation, acting methods, directing, scenography, and theatrical performance organization. He has also performed on stage, an experience that supports both his own screen performances and his work with actors as a director.

His films have received awards and nominations at independent festivals, including distinctions for editing, cinematography, soundtrack, experimental film, student short film, and no-dialogue cinema. His work often explores guilt, isolation, emotional distance, obsession, loss, and the hidden violence within intimate relationships.

Alongside filmmaking, he has a background in digital journalism, graphic design, music, theatre, and computer technology, elements that continue to support his independent, hands-on approach to cinema.

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Director Statement

The film “In Cold Love” (“Agapi en psychro”) was created as an academic project for the HOU courses SKI51 (Cinematography 2) and SKI42 (Editing 2). The brief required: (a) a stable, common lighting setup using available light and practical sources, (b) static frame compositions, and (c) a single narrative situation filmed with different focal lengths, emphasizing how perspective — and therefore visual storytelling — changes. At the editing stage, the assignment called for the use of elliptical editing and a documented organization of cuts (cut, fade, J/L-cuts) so that rhythm would serve emotion and action.

With these constraints, I chose an interior, low-key story: a woman living inside small lies and gradual emotional isolation. The different focal lengths (16mm / 30mm) are not used as simple “shot changes,” but as a dramaturgical tool of perspective: the wide shots, in the static setups, “shrink” the protagonist inside the space; the closer shots with the 30mm “tighten” the space around her, trapping us inside her head. The common lighting setup was built on available light and practical sources (table lamp, candle, small fairy lights) to preserve the realism and visual continuity requested by the assignment. In contrast, the man is presented as a silhouette behind slashed light (shutters): a purely narrative choice within the exercise’s restrictions, visualizing secrecy / deceit.

The edit follows the above: the base rhythm remains slow, with shots that “breathe,” as the static compositions and interior dramaturgy demand; at the moments of revelation (laughter, kisses) sharper cuts and small disruptions (camera shake) appear to reinforce the internal crack.

Technically, I worked in S-Log3 / S-Gamut3.Cine with fixed white balance and fixed exposure so that the conversion to Rec.709 would keep a common color/tonal base across all shots, as the brief required. The Mist 1/2 and a gentle grade with slightly “greyed” blacks gave the haze/ambiguity that matches the psychological subject.

Overall, the film follows the assignment’s prerequisites to the letter (stable light, static frames, focal-length shifts for perspective) and, in the edit, organizes them into an elliptical rhythm that focuses not on “what happened,” but on how a room is experienced when light and shadow say more than the dialogue.