Dark, sterile and dystopic at the same time, Greek artist George Drivas’s films depict a retro-futuristic life in an era of mass state surveillance that ends with unexpected results. Using the city and civic architecture as a stage, the films explore the possibilities of experiencing all facets of life, including falling in love, under such a regime. It also seems to use the architecture depicted as commentary on world utopian visions, in some respects.
