Film Directing, Hellenic Cinema & Television School Stavrakou (H.C.T.S.S)
Medicine, Masaryk University, Brno, Czech Republic
Nikos Avgoustidis was born on the Greek island of Chios, in 1977. He studied Medicine and Cinema. His student films were selected at several student film festivals (Greece-Russia-Israel-Bulgaria). UMMI, his first short film after graduating H.C.T.S.S, was screened at several international and domestic festivals (Palm Springs, Odense, Regenburg, Drama, AIFF, and more).
When night falls, few people can stare into the familiar eyes of a complete stranger.
Attached to the project: director, producer
Looking for: co-producer
Keywords: resurrection, uncanny, foreigner, living dead, dance, village, rigor mortis, bejond, dusk, acceptance, love
2016 UMMI, short film, writer/director – 39th National Short Film Festival in Drama: Special Award Dinos Katsouridis for the Best Newcomer Director; 22nd MedFilm Festival: Methexis Award for Best Short Film
In the main square’s western village café, it looks like it’s busy.
EVLAMPIA (55), owner of the café, a tall voluptuous woman is frying meze appetizers on a gas oven behind the bar counter. Her husband, KOSTIS, a sixtyfive-year-old man with a moustache, of average stature is sitting at one of the tables in the main room, where other regulars are playing cards, and from time to time he performs waiting duties.
A television that hangs high up on one of the walls mixes its sound with the rather noisy chatter coming from the regulars.
There’s about ten people in the main room. One of them is YANNIS (55), who has a loud voice, is an extrovert and expressive. He sits at a table with another three men; they’re playing cards while KOSTIS is watching them.
The man across from him does an insulting gesture towards him by extending all fingers on both his palms and placing one palm behind the other; the Greek ‘mountza’!
KOSTIS approaches the bar to pick up a small pitcher of wine for YANNIS and his friends.
While the commotion at the card table continues, EVLAMPIA takes the pan off the heat. A gust of wind jerks the windows of the café back and forth, as if several hands are pushing against them with fury, while the central glass door violently shakes as if someone is trying to push it open.
She turns to look outside at the dark square. She spots a silhouette of an old man standing in the center, completely still, with his head bent and slightly tilted to one side.
KOSTIS approaches the window next to EVLAMPIA.
EVLAMPIA keeps staring at the old man, insistently.
EVLAMPIA has a puzzled and suspicious expression on her face.
KOSTIS squints in an effort to recognize the motionless silhouette of the old man in the dark.
KOSTIS’ voice is a tad more serious than the lighter atmosphere that prevailed in the café earlier. YANNIS gets up and approaches the bar. The rest of the men don’t follow but stare curiously at KOSTIS and EVLAMPIA – who has dropped the cooking and is leaning on the kitchen counter with her hands crossed. The surrounding regulars continue to watch TV and chat.
He crosses himself like he’s playing the electric guitar. KOSTIS watches him. He’s about to break into a smile at the ridiculous sight of YANNIS, but a strange upsetting feeling about what is happening outside his café, freezes the expression into a ludicrous smirk. More of the regulars approach them.
The rest of the men stop chatting, one of them turns off the TV. They get up and approach the café’s shut glass doors. They look outside and see the old man’s silhouette standing in the middle of the square. They notice that at the café across from them, their regulars have also gathered behind the glass doors, and are staring at the old man. A small unrest breaks out, some of the regulars are silently whispering to each other as they recognize the old man. As if they’re afraid of being heard by him. One of them wonders more about what is happening inside the café, than the sight of the old man at the center of the square.
MAN 4 glares at him.
MAN 3 stares at MAN 4 without answering.
Outside in the square, the silhouette of an OLD WOMAN appears approaching OLD MAN VUDAS.
Everyone has turned towards her and is signaling OLD LADY FOTINI not to approach OLD MAN VUDAS, they’re screaming behind the glass windows and doors!
“Pierrot: All she thinks about is fun.
Marianne: Who are you talking to ?
Pierrot: The audience.”
Pierrot le fou (1965)