Spyros Patsouras
Production
Biography
Spyros Patsouras is a producer, curator and sales agent working across poetic documentary and independent cinema. His producing credits include the internationally acclaimed Avant-Drag! (IFFRotterdam 2024, dir. Fil Ieropoulos), How to Shoot a Ghost (Venice 2025, dir. Charlie Kaufman) and Uchronia (Berlinale 2026, dir. Fil Ieropoulos). He has also collaborated on projects with artists and filmmakers Shu Lea Cheang, Marianna Simnett, and Yannis Karpouzis. As a sales agent, his work has achieved over 100 international selections at prestigious events such as Sarajevo Film Festival, Raindance, Millennium Docs Against Gravity, Trieste Film Festival, and San Francisco Docs, among many others. He is a fellow of the Emerging Leaders Artivism Alliance (PLACE Network) and has collaborated with institutions including the EYE Filmmuseum (Netherlands) and the Royal Anthropological Institute (UK). Spyros holds a bachelor’s degree in marketing from the Athens University of Economics and Business and comes from a background in DIY and radically political filmmaking. The films he has produced are distributed by organisations such as Cinema Politica and Alexander Street Press; and platforms such as FilmIn, TrueStory, and Dekkoo. His work focuses on supporting formally ambitious and socially driven projects across cinema, contemporary art, and community-based exhibition contexts.
Known For
A psychedelic docu-essay, inspired by Arthur Rimbaud’s visionary poem Une Saison en Enfer, in which the poet’s ghost travels through history, encountering revolutionary figures and queer ‘freaks’ such as Emma Goldman, David Wojnarowicz, and Marsha P. Johnson. These encounters form a multilayered collage that interrogates identity, the meaning of revolution, and the role of the artist in shaping radical histories and collective imaginaries.
Uchronia
Two newly dead young people meet in the streets of Athens, amid the pulsing cityscape and the ghosts of history. One a translator, the other a photographer, they were outsiders in life; in death they struggle with the residue of their longings and mistakes. They wander the city together, finding consolation in the difficult beauty of existence and its aftermath.
How to Shoot a Ghost
(MOURNING) AFFIRMATIONS is a dreamy short film that drifts through mental struggle, grief, and fractured memory, structured around the relentless voiceover of a self-help tape. Set in the gloomy landscape of Berlin, the film exposes the quiet violence of compulsory wellness, the demand to cope, to heal, to be “okay,” and explores what emerges when we stop performing stability and allow ourselves to unravel.
(MOURNING) AFFIRMATIONS
Avant-Drag! paints portraits of ten drag artists of varying gender expressions and sexualities who take to the streets of Athens to query, problematise and (yes, please!) undermine social strictures. Employing wildly imagined personas – like riot housewives and Albanian turbo-folk girls – who perform acts as revolutionary as praising abortion and as charming as drawing childish pictures, these artists call for social justice by taking aim at conservatism, patriarchy, patriotism, racism and sexism.
Avant-Drag!
UKI’s storyline unfolds as we follow a defunct replicant REIKO dumped on Etrashville - a vast dump for tech - who tries to pull themselves back together with the help of Etrashville's transgenic inhabitants. Parallel to REIKO’s trajectory is that of an infected city where we are made aware of the reckless schemes of the biotech enterprise, GENOM Co.
UKI
Magdalena Hausen was a German photographer who became known for successfully capturing a photograph of the wind. Today, fifteen years after her disappearance, there are still more questions than answers.
Magdalena Hausen: Frozen in Time
1000+1 days after the outbreak of a pandemic, a group of strangers are forced to live together and establish a fake company STUDIO TATH. Through it they deliver online daily classes and performances, where they try to convince the audience and themselves that every day is Monday and they will finally manage to live a normality. The film was made in the context of the 5th Panorama Film School of the Aristotle University of Thessaloniki with the theme DEACTIVATION.