…Well. “I’ll tell you the incredible story I heard.” This could be an introduction to all of Panos Koutras’ films, despite the fact that it is specifically mentioned in Strella.

“All my films are like fairy tales for children, except that these children are already adults,” he says. “Telling the story to adults as if they were children,” he adds. “Is this how you keep childish?” — my own intervention, half-question, half-observation. “Fortunately or unfortunately!” he replies.

The day is bright, we agreed to meet in a cafe in Pagrati, on Varnavskaya Square, he knows this area well and I suspect that he prefers it, at least in recent years, to his district, Exarchia … But this conversation is not recorded. So are the others in which two people who have known each other for years since Attack of the Giant Moussaka, his first film in 1999, slip into it without realizing it, even if they weren’t friends. And in this film, as now, in Dodo, the unreal invades a neat, at least outwardly, life, surprising and exposing.

Dodo, a hilarious, tender, bittersweet, humorous and vibrant film, participated in the 75th Cannes Film Festival, which premiered last Monday in Stegi, and will be held at the 63rd Thessaloniki Film Festival on November 7, where it will be screened in special screening at Olympion, and from the 10th in cinemas.

According to scientists, the “dodo” was a friendly, large bird (he did not fly), with a strange and funny appearance, which was exterminated by man 300 years ago. He disappeared in Mauritius in the 18th century, Lewis Carroll “brings him back” in the 19th century and makes him a judge in Alice’s fight (in Alice in Wonderland), and Panos Koutras brings him back digitally, more fluffy and beautiful, in luxurious villa with large garden near Athens. A wealthy family (couple Smaragda Karidis, Akis Sakellariou) prepares to marry off their daughter (Natasha Exintaveloni) in a few hours to a wealthy heir, a lifeline in their accelerating financial disaster. The dodo that appears out of nowhere, scared and trapped, out of time and place, determines the course of events: from the restless wedding planner to the workers setting the stage for the wedding party, immigrants, relatives and friends, many disparate characters. all ages, genders and social classes. Everyone will play their part in the future.

– What can I tell you … My psychoanalyst told me that “moussaka is me.” So by that logic, I could say, “Dodo, it’s me!” Like all the characters in all my films. I make personal films that are completely about me, this is my world and my characters. So yes here too… I’m an endangered species too!

Carroll’s book is a masterpiece. I read it as a teenager, it captivated me, I never understood it, I identify too much with the characters. Dodgson is Carroll’s real surname. He stuttered. Therefore, when he said his name, he repeated the first syllable … Some people considered the dodo very ugly and scary.

All my films are like fairy tales for children, only these children are already adults.

– It’s a catalyst. Destroyer and guardian angel. I saw it as a synthesis of all my films, every character in this film is a reference to the previous characters. A piece of moussaka that invaded Athens, an extinct bird that invaded a family, a small society. Similar topics.

– Only! And my whole culture. Being gay or lesbian affects how you view the world. It is something given and analyzed.

– Many steps have been taken, but we must not stop, because progress goes in a roundabout way and very often goes backwards. Civil marriage must be introduced in Greece, which is absurdly delayed.

– We are waiting. We are too many couples.

The circle closes

We started our short interview with Panos Koutras with the intention that he look back on his work, on his four previous films, as he considers Dodo “closing the circle in age.”

1999
“Attack of the Giant Musak”: My first film. This is the starting point for every director. And now when I see her, I think: “How did I do this?” What impudence I had! ..” I did not completely ignore the danger. I didn’t care if it ended. I filmed it all with my own money. I started to finish it in 3 weeks, and it took me 3.5 years …

2004
“Real life”: Trouble again! The Acropolis is on fire, and then it naturally regenerates! This is my complaint film. Commercially, it had the least impact. I hope it will re-open soon.

2009
Strella: It was very difficult for me to find a financier. The script was twice rejected by the Film Center. It was filmed with my money, produced by Eleni Cosifidou, and, of course, the film would not have been possible without the main character Mina Orfanu. I wouldn’t have done this without her.

2014
“Xenia”: My biggest success. It has also been widely adopted overseas. “Xenia” is my farewell to youth. At the same time, it became an occasion to open a discussion about the children of immigrants. For second-generation children, the film helped take another step forward. In general, I would say that I have a complicated relationship with time. That’s why my next film will be about time.