7 Veils: An Interview with Evi Tzortzi and George Alexakis

Please start by telling us a bit about yourself. How did you learn filmmaking? Did you receive formal training, or are you self-taught?

Evi Tzortzi: Cinema was my big love since I was a child. Later I studied acting and started to act, dance and sing in theatrical performances but the need to communicate through the film language was not gone. So, without receiving any formal training, I dived into the world of images by creating short dance films in the beginning. “7 Veils” is my first attempt to the process of writing a poem and then transform it into a film.

There are so many movies these days. Image is the most powerful medium of our era, images have a way to get stuck in our minds and influence us. For me, as a filmmaker, the challenge is to co-create films that allow the viewer to be moved, to be awakened, and to let his imagination run free.

George Alexakis: I studied visual arts at the School of Fine Arts of Aristotle University in Thessaloniki, Greece. During my studies, we had extensive courses in digital art and photography. Early on, I discovered my deep love for the art of photography—and it wasn’t long before I realized that cinema is, in essence, nothing more than a sequence of photographs played at 25 frames per second.

How did the core idea for "7 Veils" come to your mind? For a short film like "7 Veils," did you feel compelled to write a full screenplay, or did you proceed based simply on general visual ideas and a monologue script?

Evi: “7 Veils” was created as a part of the “Dialogues 7-Mycelium Project”, an online art project centered on number 7, curated by Elena Stamatopoulou, within the international platform “Dialogues: A Hybrid Art Project”. It was my response to the different stimuli given by all the participants in the project, a response transformed into a poem. And then a poem that was eventually transformed into a film.

George: Photography on its own has incredible narrative power, but cinema... cinema is an entirely different kind of magic. Technique, I believe, is something one can learn rather easily. But aesthetic—true visual sensitivity—is a journey each artist must take alone.

My background in visual arts deeply shaped my visual perception and the way I construct meaning through the lens. It taught me not only how to see, but how to feel an image before I capture it.

To what extent can a film like "7 Veils," which communicates with its audience primarily through visual language, be indebted to a screenplay visually?

Evi: “7 Veils” is not based on a typical screenplay rather than a literary text, so its visual language turned to a more poetic approach. Its images are the echo of the words, one could say.

George: In my view, all forms of art carry a certain narrative quality—although that’s not necessarily their primary function. At its core, the deeper purpose of art is sensory communication. Whether it’s poetry, photography, or cinema, each form may employ different mediums and techniques, but they share the same aesthetic foundation. And ultimately, they all aim to communicate ideas and emotions—beyond words.

How much of the character's monologue was based on personal experiences? As the poet, performer, and narrator, how much of your own personal life did you incorporate into this role and this film?

Evi: A lot! The poem is a gaze at 7 different phases of my life, the performing incorporates traces of Butoh dance in which I have been trained and in the end I chose to sing Seikilos epitaph, the oldest surviving complete musical composition, which is one of my favorites. I could say that “7 Veils” is a fragment of the essence of my life.

George: This isn’t my first time co-directing, but whenever I do, I tend to approach it much like counterpoint in music: each voice moves independently, yet together they create harmony. One artist sweeps the other along, and a kind of whirl begins—guided by shared inspiration and a common goal.

What challenges do you think you faced during the production of this work? What difficulties did you encounter?

Evi: Not great difficulties rather than been faithful to our artistic collaboration. Then we had to be prepared for the surprises encountered when filming in nature and, of course, each one of us had to be open to the other's vision for the film.

George: The main challenge we faced while making this short film, I believe, was finding the right tone and aesthetic. It didn’t initially start out as a poetic short film—it was meant to be part of a larger collaborative project on the theme of spiritual connection. But Evi and I are not just collaborators—we’re also close friends. That friendship helped us bring out a lyrical quality, both in her writing and in my approach to cinematography. Once we began shooting, it became clear to us that what we were creating was something deeply personal—something that would eventually take on a life of its own, independent of the original project. So, the best way to overcome the stylistic challenge… was simply to surrender to our own shared sense of lyricism.

As a captivating visual experience, what strategies did you employ for the visuals of your film?

George: As I mentioned earlier, my background in visual arts helped me process visual stimuli in terms of color, form, composition—and, of course, the quality of lighting. In cinema, there are well-established rules for how to capture the best possible image of a given subject. But no matter how many techniques I learn, I always seem to return—sometimes consciously, sometimes unconsciously—to the aesthetic qualities of painting and photography. That’s my safe place. That’s where I feel most at home.

In general, which filmmakers and artists have influenced you the most? Specifically, for this film, how much inspiration did you draw from which artists?

Evi: Stanley Kubrick, David Lynch, Luis Buñuel, Akira Kurosawa, to name a few filmmakers. But this film didn’t draw inspiration from another artist, it is more the result of a mystical personal inspiration and a beautiful artistic collaboration.

George: I have deep admiration for filmmakers who handle their visual language in a way that is allegorical, lyrical, and painterly. I admire directors like Lars von Trier, David Lynch, and Wim Wenders. Honestly, I don’t know if there are any direct references or clear influences present in this particular project—given that it’s such a small-scale short film. I generally don’t try to mimic or intentionally reference iconic shots or scenes from great directors. At least, not consciously. So I don’t really have a definitive answer to this question. The only scene that might carry some trace of von Trier’s influence is the final one—where Evi disappears into the horizon, dancing in slow motion.

If possible, please tell us about your next project.

Evi: Right now, I’m on a rehearsal period for a play to be premiered on November 2025 where I am the main performer. I have written parts of the play and I am also co-directing it, so it’s a full time job and a dream coming true for me! George Alexakis is part of this project too, he is handling part of the multimedia elements.

Then, I will be working on finishing post-production for a short film shot six years ago, a film which George wrote and directed and I was the leading actress.

My next film project is another poetic film to be shot in Iceland, co-directed with George again. Of course, surprise projects can occur in between!

George: Evi and I are currently working on finishing post-production for a demanding short film we shot six years ago, based on a script I wrote and directed. Beyond that, since Evi and I collaborate often, we’re also preparing a theatrical production in which I’ll be handling part of the multimedia elements. As for my personal goals, I’m focusing on directing both short and feature-length films based on scripts written by others. But beyond all of this... deep down, I know that at some point I’ll put the camera aside, pick up my brushes and canvas, and return peacefully to painting—somewhere out in nature.