Kleoniki Stanich

Kappa, a woman in her 30s, finds herself in a facility that promotes social integration to individuals. Soon enough, she witnesses several attempts for interaction, which lead to a somewhat awkward reality. She therefore creates a survival mechanism and allows herself to get captivated within her fantasy world and reality. Caught into creating scenarios, she redefines communication as well as the borders of where a relationship starts and where it ends.

A reflection on the predicament of confinement within the domestic environment, stemming from found correspondence of a woman, dating between 1975 and 1980. Through shared points of reference and the embodiment of the above-mentioned state, the process of this work became an intergenerational dialogue with the stranger character. However, in Arrival, the narrative departs from the archived and imagines rather than a state of paralysis, the discontinuation of a cycle. Upon the character’s decision to leave her home and embark on a journey to an archipelago nearby, the island of her destination sucks her in as she merges into the wind.

This film introduces three strangers; a woman around 40, a truck driver in his 50s and an older lady of around 75 years old, who co-exist in the same space. An immobile ferryboat. The characters are lonely passengers unconsciously seeking the feeling of belonging. Through what seems to be a moment of accidental physical contact, a new language starts to form between them. The film replaces words with gestures and it navigates around the structure of a relationship. The minimum amount of contact that takes place, becomes an alphabet. All the fragments of their encounter get mentally amplified by each one of them and end up forming a game.