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

PROMETHEUS IN THE SECOND PERSON
PROMITHEAS SE DEFTERO PROSSOPO
Greece, 1975


Directed by: Costas Ferris. Screenplay: Costas Vrettakos, Costas Ferris. Director of Photography: Stavros Hassapis. Music: Stamatis Spanoudakis. Costume Design-Choreography: Myrto Paraschi. Cast: Yiannis Kounoupakis (Prometheus), Myrto Paraschi (Io), Vangelis Maniatis (Hermes), Yiorgos Vouros (Hephaestus), Costas Vrettos (Ocean), Costas Ferris (Zeus). Production: Costas Ferris, STEFI FILM S.A.-V. Katsoufis, V. Pietra, Greek Film Centre. Length: 75 min. Colour.

Costas Ferris, film director worth watching, presented last year his Murderess (I Fonissa). This time he has a pop-opera based on the classic tragedy by Aeschylus. It was the most original film at the fest. Made on a shoe-string budget, it will please young audiences locally and has some chance for exploitation abroad.
The challenge was too difficult, however, for the young filmmaker who had many pitfalls, some of which he avoided. Known for his ability to make low-cost films in a short time, he succeeded in making a modern adaptation of a classic tragedy, but this kind of film needed more preparation and attention. The pretty sequences, bright colours, music and choreography used in the film half of the pie are repeated in second half.
The point the director tries to make is that neither the people or the conditions of life have changed much in nowadays. As in the Aeschylean tragedy, there is today, in one or more countries, a new tyrant, compromisers, racketeers, and the uncompromised partisans, who predict the change but are bound in chains, as was Prometheus, because they want to fight for other people’s freedom and happiness.
Yannis Kounoupakis however is too young to portray the tortured Prometheus. The excellent photography by Stavros Hassapis and music by Stamatis Spanoudakis, who won a prize at the fest, are definite assets for the piece. Other technical credits are good.

Variety Film Reviews, 5.11.1975