When the twenty eight -year-old Kostas who has recently become a security guard in a public hospital, is forced to take over the guardianship of his little niece, he gets involved in a medical scam to make ends meet.

Neurologist Katerina and former doctor Yannis are heading off to a deserted seaside resort. Silence descends on the car as they travel across dunes in a windy autumn, matching the less-than-pleasant occasion: Yannis has been called to identify the victim of a tragic accident at the hospital of the small town. When the local policeman informs them that the victim’s vehicle had plunged over the parapet of a stone bridge and leads them to the morgue, Katerina sees her worst suspicions confirmed. Together with Yannis, but also on her own nightly excursions to a mysterious, rustic beach bar called Arcadia, they begin to put the pieces of the puzzle together, revealing a haunting story of love, loss, acceptance and letting go.

A minefield by the Evros River. The border. A platoon of sappers are struggling to clear it. Yannis is among them. Gangs transfer immigrants and refugees across the border-river. Sometimes the minefield breaks its dark silence. Chryssa, who takes the children across, will stumble on Yannis. Challenging death is their common fate. She will be lost. Yannis will stay behind trying to understand what love is, through a miracle.

Through thirteen images and an equal number of stories, little Melina-Amalia, the teenager, the woman, the fighter, Blanche, Stella, Ilya, Phaedra, Medea, Clytemnestra, Minister of Culture, the stoic Melina in Memorial Hospital, all aspects of the "last Greek goddess". Shot on the stage of the National Theater Rex - Marika Kotopouli, it captures, balancing between theater and cinema, important historical events that make the myth that surrounds the glamorous protagonist even more powerful and charming.

Lacerate blends elements of realism with a dreamlike, symbolic dimension, portraying the extreme decision of a woman who turns from victim into executioner. In a series of mises-en-scène shot only in natural light, we see a domestic setting overrun by a pack of dogs that roam around restlessly, attacking objects and furniture. The interior of this home is a mental space, violated and lacerated like a body that has undergone violence. Fruit, game, and remnants of food are arranged like still lifes, with allegorical elements evoking the precariousness of life and the loss of innocence.