Constantine Markoulakis

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A series of murders alarm the police authorities, as strange symbolisms are traced to every crime scene. The eccentric professor of criminology Dimitris Lainis is asked to shed some light on the mystery.

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A Syrian doctor and her daughter flee Aleppo, setting off a chain of events that binds five strangers together. A smuggler, a soldier, a poet, and a coast guard captain collide in a crisis that tests their courage, their choices, and their humanity.

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You Can’t Take From One Who Does No Have (Ouk an lavois para tou mi ehontos) is a Greek animated mini-series that aired in the 2010-2011 season on Mega. Ouk an lavois para tou mi ehontos develops in modern Athens where Charos goes, wanting to withdraw from his obligations. However, he is short an obolus on his books, what Menippus owes since he died. Hermes, as the carrier of souls and responsible for Menippus not having the obolus, together with Charus try to help Menippus make money to pay him the obolus. The series was scheduled to begin in the 2009–2010 season, but was eventually rescheduled for the following season’s schedule. The series consists of a total of one cycle with 14 episodes.

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One big legacy, many beneficiaries, a new club in the town and an extremely erotic confusion.

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When four siblings, Alexandros, Konstantinos, Natalia and Marianna lose their parents and learn that they will not inherit anything, as their father was in debt, they are forced to work, leaving behind the luxurious life they had. At the same time, Alexandros falls in love with Elli in Paxos, who is on vacation, his brother's girlfriend and later wife, while Natalia and Marianna experience love in the person of a bisexual and a married man respectively, without knowing the truth of course. Their kind-hearted and unfortunately paralyzed grandfather tries to find a solution to their problems.

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The ups and downs in the life of seven friends from Patras.

Konstadinos Markoulakis plays a young man, who is happily married and waiting for his first child. However, one night is enough to destroy his life, when some news makes him crazy with jealousy and everything falls apart.

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Desperate to break free from the poverty of his homeland, Elias boards a ramshackle people-smuggling trawler to France. But when the boat is raided by police, Elias leaps into the ocean, eventually finding himself washed up on a Mediterranean beach resort called Eden. So begins Elias odyssesy across Western Europe to Paris, where wondrous promise, helpful new friends and perilous dangers await him every step of the way.

Seven friends meets in a bar 20 years later reminiscing.

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In this ticking clock action-thriller, a courier's last delivery of the day may also be the last day of his life. Strapped with explosives, he must fight for his life while trying to solve a mystery involving both his family and a criminal empire.

In 1821, in Cinema, he records the cinematic representations of the Revolution from the first decades of the 20th century. until the present day. Despite the fact that the Revolution of 1821 constitutes the founding act of the modern Greek state, as a subject matter it is underrepresented in national film production. This is one of the points on which the research looks, which simultaneously examines the periods of concentration of films on the subject of the Revolution or, respectively, the periods of its collective silence. The purpose of the documentary is to study the ideological discourse and the cinematic language of the films with the theme of 1821, in order to highlight the function of the cinema as a carrier of Public History and as a factor in shaping the collective historical consciousness.