- LULU / PANDORA'S BOX
- DAPHNIS AND CHLOE
- FEDRA
- THE FUGITIVE KIND
- THE TESTAMENT OF ORPHEUS
- PHAEDRA
- HERCULES CONQUERS ATLANTIS
- YOUNG APHRODITES
- CONTEMPT
- PROMETHEUS FROM THE VISEVICE ISLAND
- SANDRA OF A THOUSAND DELIGHTS
- THE GOLDEN THING
- THE TRAVELLING PLAYERS
- EURIDICE BA 2037
- IPHIGENIA
- A DREAM OF PASSION
- CLASH OF THE TITANS
- THE YEARS OF THE BIG HEAT
- ENIOCHUS - THE CHARIOTEER
- ANTIGONE
- EDIPO ALCADE
- THAT'S LIFE
- BLADE RUNNER
- VERTIGO
- MOURNING BECOMES ELECTRA
- ORPHEUS
- PANDORA AND THE FLYING DUTCHMAN
- ULYSSES
- HERACLES AND THE QUEEN OF LYDIA
- BLACK ORPHEUS
- ANTIGONE
- ELECTRA
- JASON AND THE ARGONAUTS
- ÔÇÅ GORGON
- OEDIPUS REX
- ÔÇÅ ILLIAC PASSION
- THE CANNIBALS
- ÌEDEA
- NOTES FOR AN AFRICAN ORESTEIA
- FOR ELECTRA
- PROMETHEUS IN THE SECOND PERSON
- VOYAGE TO CYTHERA
- ULYSSES' GAZE
- ÔÇÅ MATRIX
- O BROTHER, WHERE ART THOU?

EURIDICE BA 2037
Greece, 1975

Directed by: Nikos Nikolaidis. Screenplay: Nikos Nikolaidis. Director of Photography: Giorgos Panoussopoulos. Set Design: Marie-Louise Bartholomeou. Music: Vivaldi, Holden. Film editor: Giorgos Triantafyllou. Cast: Vera Tschechowa, John Moore, Niki Triantafyllidi. Producer: Nikos Nikolaidis. Duration: 100 minutes. Black and white. Award for New Director and art Direction at the 1975 Thessaloniki Film Festival.

A woman, locked up in a basement prison-flat, awaits for the order for her transfer. A group of people throws various objects at her through the window and she pushes them away violently with a sharp object. She wakes up the man who sleeps in the same flat, who, after a while, leaves to go to work. On the telephone, an unknown man tells her that he is her lover, but she does not remember him. The postman knocks at the door but she is terrified and, does not open the door. The telephone rings again and someone asks her the details for her transfer. In the flat now is an unknown woman with bandaged wrists. They speak in a friendly manner and then the unknown woman disappears. Was she the previous occupant, said to have committed suicide, or was she just one of the heroineÕs memories? She feels that someone else is in the flat and that this time his presence is threatening her. Or could it be the heroineÕs reflection? She finds shelter under her quilt and she later commences an erotic game with the dolls decorating the flat. The unknown man calls again and talks to her about Vera who died. The woman goes out for a walk, although it is dangerous. On her return, a policeman is waiting for her and interrogates her about the letter she refused to receive. She pushes something attacking her away, but we cannot see it. The man we saw at the beginning of the film returns. He might have been the man who spoke to her on the telephone. They talk about Vera and her death. They make fierce love and she kills him. Later, we see her as she was in the first scene: repeating the same movements of the same vicious circle, locked up in a hell-hole.

[É] In "Euridice BA 2037", the story is being written to mock history and the eye records in order to extract the eye. The logic of the film rolls through the clichŽs of everyday language and, after having exploited its consequences, remembers the absurd mother and through exile, its poetry and realism return. The eye refuses to believe and reason refuses to learn what the eye has shown.
The eye and its logic, just like the camera, are useless Ð so is emotion.
Only an empathetic and insightful approach to reality can overcome reality. This is not achieved via metaphysics because cinema as a whole is metaphysical. Nor can any other hallucinatory method be employed, as cinema itself is hallucinatory. Only through the slavery of realityÕs own means can it be approached (although it has been said that they have been constructed so wisely in order to exclude any illegal approach.)
In Euridice BA 2037 there is another "film" lying in wait in the soundband and, through specific noises, stimulates the memories of the audience helping it to privately film the absent space and assemble the suggested atmosphere.
It is true, however, that this procedure is hindered by the stereotype, up to today, function of sound; a non-visually recognisable sound, firstly, goes through a stage of visual preparation to be enlisted among the predicted ones awaiting the image that will confirm it. In this case, it is obvious that we see an illustration of sound. But in "Euridice BA 2037" we have a sound recording of the image. However, the two tracks maintain their independence.
Such a heretical function is completely different from the typical spectacle, because it is worshipped through personal memories and audio-visual associations (not connections) and not just through a visual text. In this way, an audience-creator is born who, longing for participation in the goings-on, activates the secret mechanism of the empathetic approach.
How else could it be since the man in bed is (in a temporality that is vague, future or psychological Ð after the end of the film) Orpheus, a satyr, a lost lover, an executioner (or all four) or an Orpheus executioner or husband, or lost lover?
In this film there are elements supporting all views, elements that are constantly self-contradictory only to allow some other view to prevail. A view that, later on, will also yield. without preventing, however, the co-existence of two or even three views, followed by their own, specific temporalitiesÉ

Nikos Nikolaidis
Film, issue no. 8, Winter 1975/76