- 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
- ‘«Ň GORGON
- OEDIPUS REX
- ‘«Ň ILLIAC PASSION
- THE CANNIBALS
- ŐEDEA
- NOTES FOR AN AFRICAN ORESTEIA
- FOR ELECTRA
- PROMETHEUS IN THE SECOND PERSON
- VOYAGE TO CYTHERA
- ULYSSES' GAZE
- ‘«Ň MATRIX
- O BROTHER, WHERE ART THOU?

A DREAM OF PASSION
Greece - USA, 1978


Directed by: Jules Dassin. Screenplay: Jules Dassin. Cinematographer: Giorgos Arvanitis. Costume designer: Dionysis Fotopoulos. Music: Yannis Markopoulos. Film editor: George Klotz. Cast: Melina Mercouri (Maya), Ellen Berstyn (Brenda), Dimitris Papamichael (Dimitris), Andréas Voutsinas (Kostas), Despo Diamantidou (Maria), Yannis Voglis (Edward), Phaedon Georgitsis (Ronny), Betty Valassi (Margaret), Andreas Filippides (Stathis), Kostas Arzoglou, Manos Katrakis (Creon), Alexis Solomos, Freddie Germanos. Production: Jules Dassin/Bren Film-MelinaFilm. Duration: 110 minutes. Colour.

Maya, a Greek actress of worldwide repute, is in rehearsal under the direction of Kostas, a demanding director, to play Medea. Searching for greater publicity, she decides to meet Brenda Collins, an American who killed her three children to avenge her unfaithful husband. Brenda, who has not met anyone while in jail, agrees to the meeting, but comes face to face with the mob of paparazzi following Maya and their meeting turns into a fiasco. This event upsets Maya, who abruptly puts an end to her affair with Ronny, a BBC reporter, stops attending rehearsals and starts thoroughly studying the story of Brenda story, nicknamed "Medea of Glyfada" by the press. The two women meet again alone in jail and a female bond is forged between the two women. These visits make Maya change her view about the way the play should be approached and this causes friction between her and the director. Maya is led to a kind of self-awareness and criticises herself in front of the cameras. While Maya’s performance meets with success in Delphi, Brenda, alone in her cell, screams in pain and desperation.

Myth and reality
By Nikos Kolovos

A Dream of Passion is another act of recognition and convergence between ancient Greek mythology, as shaped through classical drama, and modern Greek reality. In Greece of the ‘70s, an actress, who is to play Euripides’ Medea, visits the jail and talks with a contemporary American "Medea", who has killed her three children to avenge her husband. Dassin, inspired by Euripides’ play and using it as a foundation, makes the structural choice he had failed to do in The Rehearsal. He connects myth with reality; representational art with everyday life; Medea with Melina. He achieves this by working with the same theatrical motif on three different levels. The first is the level of the preparation of a performance, where a demanding director puts pressure on his protagonist to turn her into a tragic heroine. The second level is that of the imprisoned infanticide; a real Medea whose experience Maya wants to use in order to comprehend her role more profoundly. The last level is that of the actress Melina Mercouri, who has undertaken the role of Medea. She communicates with the words and passion of the actual "Medea", revealing that she is a Medea herself because she killed her unborn child and lives in a society dominated by men. These levels are governed by the same idea: the various Medeas of the myth and reality are not victims of their own fate, nor are they victims of an acquired mental illness. They become Medeas due to the social processes, where the male element determines, oppresses and distorts the female individual.
Although the film’s subject is very specialised, it summarises Dassin’s relationship to Greek culture because it contains ancient Greek text, the social differentiation (with the presence of the American language), Melina’s favourite and, almost, autobiographical monologue – i.e. all the elements that influenced Dassin’s presence in his second home. These are the elements that influenced Dassin’s Greek filmmaking period. A Dream of Passion is Dassin’s comeback to the art of filmmaking. It is a "hymn to the woman, the admirable and exuberant Melina Mercouri, and the country, Greece […] deeply rooted in its primordial culture". It is the film that happily but also poignantly sealed the settling of the American director in Greece.

From the article "An American Greek", published in the book Jules Dassin,
34th Thessaloniki Film Festival, 1993.