“It is not the strongest of the species that survives, nor the most intelligent, but rather the one most adaptable to change.”
Misquote by Darwin – gone viral
a“It is not the strongest of the species that survives, nor the most intelligent, but rather the one most adaptable to change.”
Misquote by Darwin – gone viral
Synopsis
The craggy volcanic island of Santorini, Greece’s touristic flagship, owes its outrageous fame to its unique caldera view, the presence of stars and celebrities, and social media. When Julia, a bridal stylist from Belarus, came to Santorini eight years ago, the island was experiencing a destination wedding boom.
The tourist season in Santorini lasts from April to December. And like many islanders involved in tourism, Julia lived the Groundhog Day – twelve working hours a day, no day-offs and no time for a private life. For Julia, however, everything was just perfect.
By 2019, the island was on the verge of collapse because the number of visitors had reached a record. 2020 was expected to become even crazier. And then came Covid-19.
“It is as if someone has pressed the ‘reset button’. I feel like I’m back in the eighties.” Like Jannis Kavalaris the master of ceremonies and inventor of the wedding business in Santorini, many of the islanders are frustrated.
Corona is a catastrophe for some, but for an adventurer like Julia, the pandemic provided a great opportunity for her to make her dream come true – her own luxury bridal salon with that cult caldera view!
Through the life peripeteias of Julia and other islanders, we portray Santorini – a beautiful product of capitalism and globalisation, now touched by Covid-19. How will the pandemic change the island, and how will the tourism industry survive this period? Most certainly, this transition period is not the best time for those who used to do things right and follow the rules.
Synopsis
The craggy volcanic island of Santorini, Greece’s touristic flagship, owes its outrageous fame to its unique caldera view, the presence of stars and celebrities, and social media. When Julia, a bridal stylist from Belarus, came to Santorini eight years ago, the island was experiencing a destination wedding boom.
The tourist season in Santorini lasts from April to December. And like many islanders involved in tourism, Julia lived the Groundhog Day – twelve working hours a day, no day-offs and no time for a private life. For Julia, however, everything was just perfect.
By 2019, the island was on the verge of collapse because the number of visitors had reached a record. 2020 was expected to become even crazier. And then came Covid-19.
“It is as if someone has pressed the ‘reset button’. I feel like I’m back in the eighties.” Like Jannis Kavalaris the master of ceremonies and inventor of the wedding business in Santorini, many of the islanders are frustrated.
Corona is a catastrophe for some, but for an adventurer like Julia, the pandemic provided a great opportunity for her to make her dream come true – her own luxury bridal salon with that cult caldera view!
Through the life peripeteias of Julia and other islanders, we portray Santorini – a beautiful product of capitalism and globalisation, now touched by Covid-19. How will the pandemic change the island, and how will the tourism industry survive this period? Most certainly, this transition period is not the best time for those who used to do things right and follow the rules.
Stage of Production
Our research in Santorini began in 2017, when the island was experiencing a boom of destination weddings and when it was almost impossible to get in touch with people. Everyone was extremely busy. Supported by the Filmförderung Hamburg Schleswig-Holstein, we started shooting professionally in 2019. We managed to cover the wedding and tourism boom when the island was overflowing with people, and our protagonists – the main celebrant on the island Jannis Kavalaris, Waseem and the wedding planners – were overwhelmed with work and completely exhausted.
We completed fifteen professional shooting days during the historic Covid-19 summer of 2020. We witnessed the empty island in June and the return of tourism in July and August. We also had the chance to do some close observational shoots with our main protagonists, Julia, Kenzo and Jannis Kavalaris.
Main Shooting is planned to take place during the entire 2021 season and continue in 2022.
Stage of Production
Our research in Santorini began in 2017, when the island was experiencing a boom of destination weddings and when it was almost impossible to get in touch with people. Everyone was extremely busy. Supported by the Filmförderung Hamburg Schleswig-Holstein, we started shooting professionally in 2019. We managed to cover the wedding and tourism boom when the island was overflowing with people, and our protagonists – the main celebrant on the island Jannis Kavalaris, Waseem and the wedding planners – were overwhelmed with work and completely exhausted.
We completed fifteen professional shooting days during the historic Covid-19 summer of 2020. We witnessed the empty island in June and the return of tourism in July and August. We also had the chance to do some close observational shoots with our main protagonists, Julia, Kenzo and Jannis Kavalaris.
Main Shooting is planned to take place during the entire 2021 season and continue in 2022.
Director’s Motivation
Santorini reminds me of an entertainment centre, like Las Vegas or Disneyland, that exists for two reasons: to entertain and to make as much of a profit as possible. However, I wondered how the people who live permanently on the island feel.
Covid-19 provided me with a great opportunity to get to know the local population better, and define the characters in my film. While on a research shoot on Santorini in 2020, I realised that the central idea of this film needed to change.
The coronavirus crisis had put a stop to the mass tourism industry – just like that. In the space of a few months, we have had to adapt to a completely new lifestyle. After a year of quarantine, we all feel the world will never be the same. We are not the same.
This transition period situation reminds me of another time in my life when I was a child – the ruin of the USSR. A time the system fell apart and many people’s lives were destroyed. It was the price to pay for “freedom”. And freedom without restrictions was total chaos.
I now have the chance and the luxury to observe this big transition with a camera in my hands – as a creature of the passing époque, with the ability to adapt to the situation.
Director’s Motivation
Santorini reminds me of an entertainment centre, like Las Vegas or Disneyland, that exists for two reasons: to entertain and to make as much of a profit as possible. However, I wondered how the people who live permanently on the island feel.
Covid-19 provided me with a great opportunity to get to know the local population better, and define the characters in my film. While on a research shoot on Santorini in 2020, I realised that the central idea of this film needed to change.
The coronavirus crisis had put a stop to the mass tourism industry – just like that. In the space of a few months, we have had to adapt to a completely new lifestyle. After a year of quarantine, we all feel the world will never be the same. We are not the same.
This transition period situation reminds me of another time in my life when I was a child – the ruin of the USSR. A time the system fell apart and many people’s lives were destroyed. It was the price to pay for “freedom”. And freedom without restrictions was total chaos.
I now have the chance and the luxury to observe this big transition with a camera in my hands – as a creature of the passing époque, with the ability to adapt to the situation.
Svetlana Strelnikova
Svetlana Strelnikova is a Moscow-based award-winning documentary filmmaker interested in the intersection of idealism and real life. After graduating from the Moscow State University, she entered the National Film School. She worked as a Line producer and Fixer with foreign crews filming in Russia, and she attended a number of workshops, such as DokIncubator and Eurodoc 2016.
Her first feature film won a NYFA scholarship. Her director’s filmography includes feature-length documentaries, which received awards at festivals: DocuDays (UA), Watch Dogs (PL), Chronograph (ML), Message to Man (RU), Kinoshok (RU).
Her film, Cardiopolitika, was nominated for a Nika award – the main annual national film award presented by the Russian Academy of Cinema Arts and Science in 2016.
Her newest film Legend of Sigfried, released in 2020 was screened at numerous European film festivals.
Svetlana Strelnikova
Svetlana Strelnikova is a Moscow-based award-winning documentary filmmaker interested in the intersection of idealism and real life. After graduating from the Moscow State University, she entered the National Film School. She worked as a Line producer and Fixer with foreign crews filming in Russia, and she attended a number of workshops, such as DokIncubator and Eurodoc 2016.
Her first feature film won a NYFA scholarship. Her director’s filmography includes feature-length documentaries, which received awards at festivals: DocuDays (UA), Watch Dogs (PL), Chronograph (ML), Message to Man (RU), Kinoshok (RU).
Her film, Cardiopolitika, was nominated for a Nika award – the main annual national film award presented by the Russian Academy of Cinema Arts and Science in 2016.
Her newest film Legend of Sigfried, released in 2020 was screened at numerous European film festivals.
Fact Sheet
Written and Directed by
Svetlana Strelnikowa
Producer:
Frank Müller, Doppelplusultra Filmproduktion, Germany
Length:
79/52 Min.
Format:
4K
Country of Production:
Germany
Country of Shooting:
Greece, Santorini
Language:
Greek, English, Russian
Budget:
€ 450.000
In place:
€ 40.000
Funded by:
Filmförderung Hamburg Schleswig Holstein
Status:
End of Development
Release:
November 2022
Fact Sheet
Written and Directed by
Frank Müller
DoP:
Stefan Lindenau
Frank Müller
Motion Design:
Michael Lübben
Frank Müller
Country of Production:
Germany
Country of Shooting:
Greece, Santorini
Language:
Greek, English, Russian
Budget:
€ 450.000
In place:
€ 40.000
Funded by:
Filmförderung Hamburg Schleswig Holstein
Status:
End of Development
Release:
November 2022
