Doua lumi in muzica

The film started as a walk in Athens following the Sculptor and Painter Dimitris Psomodotis. Athens, the loved city, is undergoing a crisis. Values and culture are questioned. The film tries to find the basic essence of Art and creativity. Dimitris lives and works in the center of Athens, in Exarchia, since 1985, on Asclepius street. The creative journey, during the filmmaking, led to "the birth of ideas." The final project was a surprise as it escaped the stereotypes of visualization. The text, written by the novelist Vasiliki Kappa, defined the concept so well "How could art possibly fit inside days that are so full?". During the filmmaking the city s air seemed filled with scents and colours. Its lights and streets felt so alive. Where was all that a while ago? It just emerged as a hidden vibration. It was always there though, but we did not have time to see it. Suddenly the city s light started talking with us, forming an unusual conversation. "Where can an artist find space and time? Space and the way to exist between days that are so filed to capacity"? Where do ideas nest? Probably in their own universe. A parallel universe. Deep inside, everyone has seen them, but most left them behind. They found it impossible to stop, even for a while. They couldn't stand to be annihilated, bending over the source. They couldn't reduce the arrogant noise of their certainty of knowing. It's not easy. Not convenient at all. Art lays you bare." Cinema, painting, sculpture, writing and music are all combined in an interesting relationship of creation and critical analysis of reality. The film lies between fiction and documentary. The fluent, free approach allows a new balance among the elements that structure the form. Thus the narration is no more a robotic recording, nor a plain description of reality but a catalyst and a creative representation. Thought creates the needed environment for the "birth of an idea", as an inevitable solution and climax. Catharsis comes through an arduous process. There are no moments of relaxation. The city leads our steps. Gives the rhythm. We resist the existing relationship between time and reality s intensity. We are present, without violating the space of the necessary vital distance . "we have already lowered the noise of the arrogant certainty that we know everything." So we sensed the human rhythms in the city. We loved again every corner, street, every bench which felt familiar.... Maybe the only solution is to keep the distance from spaces where intensity and cries dominate. Our point of view has definitely changed. Our perspective has changed. The camera was a guide and a barometer. Our idea to explore the city while we explored our mood eventually created the necessary space for existence, the necessary space for life. Thus an artistic film was born without prejudices or narrow boundaries, seeking for the audience that wants to communicate with it.