The press conference for the Greek feature “Endless Land,” directed by Vassilis Mazomenos, was held on Saturday, 29 November, at Honar Shahr Aftab Cineplex in Shiraz. Competing in the International Competition section of the 43rd Fajr International Film Festival, the film follows Lazarus, a young man living in a remote village in the Epirus region who, after the death of his father, confronts loss, loneliness, migration, and a deep search for memory and identity. Known for his surreal visual language and politically charged themes, Mazomenos has previously screened his works at major international festivals, including Montreal, Tallinn, Cairo, and Sitges.
At the beginning of the session, Mazomenos spoke about the personal origins of the project, saying, “I came to Iran together with three of my actors. What inspired me to make this film were my travels to rural areas in the north of Greece.” He explained that the core of the film revolves around displacement and erasure, adding, “The main theme of the film is losing and forgetting roots, identity, and memories of the past. My effort was to return to and rediscover these sacred identities, which are unfortunately being forgotten as society becomes increasingly materialistic.”
Addressing the global relevance of rural migration, Mazomenos noted that similar stories are being told across different countries. “Unfortunately, this is a global phenomenon that is happening everywhere,” he said. “The distance from our ancestral homes and places of origin is growing, and everyone is migrating to big cities.” He acknowledged that survival often plays a role in such decisions, adding, “In this film, one character leaves the village to seek a better life abroad, and eventually dies.”
Speaking about the film’s setting, Mazomenos explained his emotional connection to the chosen location. “This village is not my birthplace, but it is a place I visited from childhood and loved because of its beautiful nature and its people, who are as beautiful as the landscape,” he said. He described a duality that fascinated him, noting, “There is both a wild quality and a gentle, sensitive spirit in the scenery, the nature, and the people at the same time. That combination attracted me, and that is why I chose this village as the film’s location. It carries a beautiful authenticity from the past.”
Responding to descriptions of the film as a poetic lament, Mazomenos embraced the characterization while clarifying his approach. “This film is entirely poetic,” he said, “not based on classical content or form, but on a new poetic form that is uniquely my own.” He emphasized that he deliberately avoided familiar narrative formulas, adding, “I did not try to shape the story according to Anglo-Saxon clichés.”
Mazomenos also reflected on the cultural and civilizational influences behind the film, stressing his belief in integration rather than division. “I was inspired by both the historical and cultural dimensions of Greek civilization,” he said. “I do not strongly believe in separating people.” He explained that music, poetry, and the narratives of ordinary people all play a role in the film, adding, “I think people create these divisions by mistake. Different people may not merge into one, but they can live alongside each other.” He noted that he sensed similar complexities during his time in Iran, saying, “I felt this here as well, because some people are similar to us, and some are not.”
Discussing the film’s production conditions, Mazomenos addressed the realities of independent filmmaking in Greece. “We have serious budget limitations in Greece, and most films are made independently with very low budgets,” he said. He explained that the cast and crew showed strong commitment to the project, adding, “Everyone collaborated generously and was eager to be part of the film, even contributing financially to its production.” While acknowledging that only a few high-budget films are produced annually in Greece, he noted, “Audiences often gravitate toward big-budget films, but it is usually the low-budget films that win the majority of awards.”
In closing, Mazomenos shared his long-standing admiration for Iranian cinema. “I have known Iranian cinema since the 1980s, when Iranian films were first screened in the West,” he said. “I became familiar with Iranian filmmakers, researched their work, and watched their films.” He added, “I love the simplicity of Iranian cinema, because it tells its stories without unnecessary embellishment. In that sense, it is very similar to Japanese haiku poetry.”
The 43rd Fajr International Film Festival is currently underway in Shiraz, running from November 26 to December 3, 2025.
