Private Project

Nausicaa over by Binia

Short cinematic portrait, in the context of the documentary and the Cinema of Observation. As she often introduces herself, "Nafsika, age of seventy-three." She is a Corfiot. This documentary is, in essence, personal. Nafsika's portrayal had to be utterly sincere, just as she is every time she is captured in the places where she was filmed. Without any interventions and any script.

  • Christina Lagouri
    Director
  • No Writer
    Writer
  • Christina Lagouri
    Producer
  • Nausicaa Kona
    Key Cast
    "Nausicaa"
  • Ioanna Osmou
    Key Cast
    "Ioanna"
  • Pinelopi Poulimenou
    Key Cast
    "Poppy"
  • Maria Vlachou
    Key Cast
    "Maria"
  • Philippos Sergiannis
    Key Cast
    "Philippos"
  • Aristarchos Bougioukntolaptsis
    Key Cast
    "Aris"
  • Maria Tanti
    Key Cast
    "Maria"
  • Project Title (Original Language):
    Ναυσικά πάνω από την Μπίνια
  • Project Type:
    Documentary
  • Runtime:
    20 minutes 40 seconds
  • Completion Date:
    October 2, 2019
  • Production Budget:
    0 USD
  • Country of Origin:
    Greece
  • Country of Filming:
    Greece
  • Language:
    Modern Greek (1453-)
  • Shooting Format:
    Digital
  • Aspect Ratio:
    16:9
  • Film Color:
    Color
  • First-time Filmmaker:
    Yes
  • Student Project:
    Yes - Ionian University
Director Biography - Christina Lagouri

Cinematographer – Film editor
My name is Christina Lagouri and I was born in Athens. In 2011, I entered the Ionian University through the national exams, at the Department of Audio and Visual Arts, in Corfu. My main pursuit is the observation of reality, and then its embodiment in any art form. After completing my studies, I returned to my hometown, and my artistic activity is focusing on the Cinema of Observation.

Add Director Biography
Director Statement

In 2017, in a ‘Kafenio’ (or the Greek coffee house) I met Nausica K., an elderly woman. I instantly felt the desire to do something creative with her. I observed her consistently, and without knowing why, I was taking notes on what she was saying and especially on how she was saying it. I hadn’t been in the process of looking for an art form while I was decoding her.

‘Kafenio’ is something like a TV series. A composition of main and complementary characters. Every day is an episode. Information emerges from the evolution of their daily lives; this may be a sudden phone call or an argument with a worker who is in the neighbourhood these days or even a pamphlet. Dialogues betray their relationships. From each discussion one can understand who of them have known each other from the past and who first met in this space. Everyone has their place, but in reality, they all talk together. No one is sitting with their back turned to someone else, even though at different tables. Not everyone necessarily likes each other, but certainly the same people talk to each other at the same time every day in the same place. Am I chattering away?

I had information about her life and her relationship with her sisters, while I also knew that the Lord's Day, Sunday, is devoted to the monastery of Panaghia Kassopitra. Crossing the boundaries of the cafe, I went with her to the Monastery. I saw her thank Him for the difficulties, believing that they were necessary to get here today. I heard her pray "Thank you for letting me see the day", and she makes her cross, "Thank you for letting me see the night” and makes her cross again.

In 2019 I attempted to compose her portrait in the form of a documentary.