Drawing on the perception of property boundaries and the physical limits between people, Shadowy Towers utilizes old films by Greek filmmakers (from the period 1920-1972) that visualized the years of the revolution in the Peloponnese. Beginning with the study of a historical figure or event, such as the Greek War of Independence in 1821, and at times drawing from a contemporary incident, the work creates a remix of available findings to form a new narrative—a meta-work rich in allusions (e.g., incorporating social media comments, hashtags, likes).

The project examines female roles in these films, analyzing how they are represented and how viewers perceive the ownership of the female body itself. Women in these films are often depicted as male property—whether as wives, daughters, or lovers. Their roles function as symbolic fortresses, reflecting the limited autonomy and the stereotypes surrounding ownership and selfdetermination.

From Mani, Patrick Leigh Fermor’s book on the region’s legends and traditions, to the films of Achilleas Madras, Dimitris Gaziadis, and Andreas Lambrinos, along with contemporary social media commentary, the video seeks to construct a new digital narrative on the position of women, comparing past and present. The use of archival films and the emphasis on female roles invite a reconsideration of both old and new narratives, while simultaneously engaging multiple sensory perceptions of the audience.