Yiannis Stravolaimos | Director | Screenwriter | Visual Effects Artist
With works that bridge history and modern cinematic language, he has distinguished himself through both his unique visual identity and his bold thematic approach. His award-winning film "The Shepherd" highlighted the power of internal storytelling and symbolism, while "The Possession" explores darker psychological and dramatic territories, demonstrating his versatility as a filmmaker.
Special mention should also be made of the ambitious hist
orical project "Nenikikamen", a cinematic adaptation of the Battle of Marathon using authentic ancient languages—an artistic choice that underlines the creator's respect for historical accuracy and cultural heritage.
His work is not limited to directing alone. As a VFX artist and colorist, he personally oversees the final visual aesthetics of his productions, shaping a complete cinematic experience from screenplay to the final frame.
In the interview that follows, he speaks about his inspiration, the challenges he faces, his vision for Greek cinema, and the place of history and identity within contemporary global cinematic storytelling.
Interview
Dimitrios Kannavos : What initially inspired you to become involved in cinema, and how did your creative journey as a director and screenwriter begin?
Yiannis Stravolaimos
My involvement with cinema was born from a deep need for storytelling. From a young age, I was moved by the power of the image to convey ideas, emotions, and philosophical reflections without being confined to the narrow limits of words. Cinema, as a synthesis of arts (literature, theatre, music, painting, and technology), became for me the ideal medium of expression.
I am especially fascinated by spectacular cinema, where new technological possibilities can create and enhance the "magic" of the image, allowing us to tell stories that could not be told using the old conventional methods.
I also enjoy creating stories and developing characters, whom I then try to bring to life on the screen. From the moment I conceive a story in my mind, I can quickly transform it into a screenplay (with the appropriate breakdowns and scene divisions). Writing a screenplay has never taken me more than eight to ten days, even when it is for a feature-length film.
Dimitrios Kannavos : How did you approach the idea for the film "NENIKIKAMEN," and what led you to decide to use Ancient Greek and Ancient Persian in the dialogue?
Yiannis Stravolaimos
In general, I enjoy biblical, religious, historical, and science fiction subjects.
The Battle of Marathon has never been made into a film, and because it is a landmark battle in Ancient Greek history—containing rich action as well as the supernatural element with the presence of the Gods fighting alongside the Athenian warriors—I always wanted to bring such a project to life.
The idea for "NENIKIKAMEN" was born from the desire to approach this pivotal historical event not as a simple reenactment, but as a lived experience. Historical memory is not merely the narration of events; it is cultural identity.
The use of Ancient Greek and Old/Ancient Persian in the dialogue was a deliberate artistic choice. I wanted to remove the filter of modern linguistic mediation and create an authentic soundscape. From a test we conducted, Ancient Greek sounded far more epic and appealing to the audience because language is not merely a tool of communication; it is a carrier of worldview. Through the original linguistic presentation in Ancient Greek, the viewer is literally invited to enter a different historical era. It is as though they are living the events of that time.
The choice of Ancient Greek and Old/Ancient Persian gives the film a completely different dynamic. Even American producers told us the following:
"If the film is shot in Modern Greek, it will receive distribution in Greece and Cyprus, as usual. If it is shot in English, it will enjoy broader international distribution. But if it is shot in Ancient Greek, it will achieve worldwide distribution, because Ancient Greek is a beloved and living language and, as is well known, it is widely taught abroad."
Therefore, even from a commercial point of view, the use of ancient languages is a wise decision.
Dimitrios Kannavos : What were the greatest challenges you faced in producing a film with such a demanding historical and linguistic background?
Yiannis Stravolaimos
Historical accuracy was perhaps the greatest challenge. The costumes, weaponry, architectural reconstruction, and above all the linguistic documentation required close collaboration with historians and linguists.
In addition, training the actors in the pronunciation and rhythm of the ancient languages is an extremely demanding process. Finally, the method of filming such demanding and complex battle scenes so that they appear completely realistic without endangering the participants remains a challenge that we are still working on.
Dimitrios Kannavos : How did you select the cast for "NENIKIKAMEN," and what role do you believe collaboration with international actors will play in the future of your work?
Yiannis Stravolaimos
The casting process has not yet been completed.
The cast will consist primarily of Greek actors, along with several Iranian actors, so that the delivery of the Ancient Greek and Persian languages—and the overall pronunciation—will be accurate.
There will be no more than two foreign (American) actors, and only for distribution purposes, with the essential condition that they will be dubbed by Greek actors, because under no circumstances would we want Ancient Greek or Persian to be spoken incorrectly or without proper pronunciation.
Otherwise, we would end up with the poor linguistic and acoustic result of the latest "Indiana Jones" film, where Harrison Ford attempted to speak a mixture of Modern Greek and incorrect Ancient Greek with an American accent
Dimitrios Kannavos : The use of ancient languages is a particularly bold choice. How do you believe this decision changes the audience's experience?
Yiannis Stravolaimos
The use of ancient languages creates a sense of sacredness and temporal distance. The viewer is not simply watching a story unfold but, in essence, participating in what could be described as a ritualistic experience.
The acoustic texture of the language influences emotion, even when it is mediated through subtitles.
Furthermore, hearing the Ancient Greek language uplifts and develops the mind, and I am absolutely certain that it will fascinate audiences who watch the film.
Dimitrios Kannavos : To what extent do you believe your work contributes to cultural diplomacy and to promoting Greek history internationally?
Yiannis Stravolaimos
I believe that cinema is one of the most powerful tools of cultural diplomacy—and, of course, propaganda. Through works inspired by Greek history, we have the opportunity to present to the international community a complex, meaningful, and authentic image of Greek civilization.
Films about Ancient Greece produced by Hollywood are not faithful to history. Simply put, no foreign filmmaker can make a film about Ancient Greece better than a Greek filmmaker. Especially when Greeks have access to the technical and technological capabilities offered by the American film industry.
Dimitrios Kannavos : Which filmmakers or cinematic works have influenced your aesthetic and your approach to filmmaking the most?
Yiannis Stravolaimos
I am a lover of camera movement rather than static shots. Stanley Kubrick was among the first directors to introduce moving camera shots into cinema. He is one of the filmmakers who has influenced me because of his aesthetic perfectionism and, of course, his use of camera movement.
Akira Kurosawa is another filmmaker distinguished by his dramatic intensity.
European cinema has not had a significant influence on me. We certainly have outstanding Greek filmmakers and cinematographers, such as Giorgos Arvanitis, who have influenced entire generations of younger artists.
Dimitrios Kannavos : What is your production process—from the screenplay to visual effects (VFX) and color grading—all of which you combine as a filmmaker?
Yiannis Stravolaimos
The process begins with extensive historical and philosophical research. This is followed by screenplay writing with an emphasis on structure and rhythm. During production, I place particular importance on cinematography and production design as storytelling tools.
Visual effects (VFX) are used to support the story rather than to impress, while color grading is the final stage in which the emotional palette of the work is defined.
Dimitrios Kannavos : How do you view the Greek film industry today, and what are the opportunities and challenges for emerging filmmakers?
Yiannis Stravolaimos
The Greek film industry demonstrates significant artistic potential, but it faces limitations in funding and distribution. Greece is a relatively small country in terms of population, and as a result, its productions do not have the same commercial reach as those of larger countries. Nevertheless, international networking and co-productions are creating new opportunities for emerging filmmakers.
Every beginning is difficult, but persistence can sometimes work miracles.
Dimitrios Kannavos : What projects are you currently preparing for the future? Is there anything you would like to share with your audience?
Yiannis Stravolaimos
– The film "The Queen of Heaven" is currently in preparation. It tells the story of the Virgin Mary, from the Crucifixion of Christ to Her miraculous Dormition.
– "The Toll Houses" is another film in preparation, dealing with the fearful tolling of the soul during its violent separation from the body at the moment of death.
– "The Fall" is a film about the first-created human beings.
There is also a science fiction film concerning space-time, as well as a major production titled "Tropaioforos" ("The Trophy-Bearer"), which is being developed in collaboration with director Giorgos Leontakianakos and tells the life of Saint George the Trophy-Bearer.
Dimitrios Kannavos : Your award-winning film "The Shepherd's Dinner" has been recognized for its atmosphere and deeply symbolic approach. What is this story essentially about, and what was your personal motivation behind creating it? Do you believe its success has opened new international opportunities for you?
Yiannis Stravolaimos
This film is based on a true story from the Gerontikon and deals with a religious theme. It has indeed received extensive recognition and awards abroad.
"The Shepherd's Dinner" is a deeply spiritual and dramatic work, based on the story of a kind-hearted shepherd who experienced a transcendent encounter with Jesus Christ Himself.
Although at first glance the film belongs to the dramatic/religious genre, its true essence goes far beyond the boundaries of a simple biographical narrative. It thoughtfully and sensitively explores the humanitarian values of faith, humility, love for one's fellow human beings, and personal transformation.
Dimitrios Kannavos : In your film "The Possession," which explores darker and more intense dramatic/thriller elements, what was the main message you wanted to convey? How did you manage the dramatic tension and the psychological intensity of the characters?
Yiannis Stravolaimos
"The Possession" is a mystery thriller dealing with the possession of the film's main character by an unclean spirit. It contains very strong dramatic intensity and highly demanding performances from its actors.
The leading roles (Best Actor and Best Actress) are performed by Kostis Savvidakis and Christina Sotiriou, two actors entrusted with extremely demanding roles, as audiences will discover in cinemas. Konstantinos Konstantopoulos and Vyron Kolasis also play very important roles in the film.
In a special appearance, Mrs. Mairy Vidali participates in a surprise role that leads to one of the film's many unexpected twists.
In my opinion, this film will receive numerous acting awards because of the dramatic intensity of its characters. They have been written in precisely that way