– Pantelis Voulgaris Retrospective –
by A.A. Cristi | Broadway World | September 23, 2025
The New York Greek Film Expo 2025, presented by the Hellenic Film Society (HFS), will close with a special retrospective of films by acclaimed Greek director Pantelis Voulgaris. The retrospective runs October 10–12, 2025 at the Museum of the Moving Image (MoMI), 35 Ave at 37 St., Astoria, NY.
Brides (2004), starring Damian, is an epic story of Greek mail-order brides bound for New York after World War I. It will screen on Saturday, October 11, 2025 at 6:30 p.m.
The New York Greek Film Expo opens October 2 at the Directors Guild Theater in Manhattan, continues October 3–5 at Village East Theater, and October 7–8 at the Barrymore Film Center in Fort Lee, NJ, before concluding at MoMI.

“As master filmmaker Pantelis Voulgaris marks his 85th birthday later this month, the time seems right to present a retrospective of his work, an opportunity to revisit, enjoy, and reassess some of his major films,” said Maria C. Miles, HFS president.
Voulgaris has spent more than 50 years creating films known for their deep humanity, emotional resonance, and connection to Greek history and society. His nuanced storytelling, complex characters, and striking visuals have earned him awards at international film festivals and a mid-career retrospective at New York’s Museum of Modern Art.
Film Lineup
- The Engagement of Anna (1972) – a heartfelt social drama and his debut feature.
- The Last Note (2017) – a harrowing account of the execution of Greek resistance fighters at Kaisariani.
- Brides (2004) – starring Damian Lewis, an epic story of Greek mail-order brides bound for New York after World War I.
- Little England (2013) – a visually rich tragic romance about two sisters divided by their love for the same man.
The retrospective also highlights the collaboration between Voulgaris and his wife, acclaimed novelist and scriptwriter Ioanna Karystiani, whose creative partnership has influenced generations of filmmakers.
Read the rest of the original article at Broadway World



