Last year marked the initiation of the Evia Film Project, an environmentally conscious endeavour spearheaded by the Thessaloniki International Film Festival. The project aimed to provide aid and assistance to the Northern Evia region in the aftermath of the devastating wildfires of 2021. Concluding on 24 June, the second edition of the project encompassed a diverse range of activities, including film screenings, master classes, music events and industry meetings, catering to film enthusiasts and professionals alike.

This year, the Evia Film Project shone a spotlight on the captivating landscapes of Northern Evia, introducing them to location managers responsible for selecting shooting locations for major productions worldwide. With a dedicated focus on showcasing the unique character of Northern Evia, the project organised an exclusive workshop tailored to the art of location scouting. As part of this emphasis on scouting, the festival organised a “Fam Trip” (familiarisation trip) for both local and international location managers and producers. This immersive experience provided them with an opportunity to uncover the hidden treasures of Northern Evia, which hold tremendous potential as breathtaking backdrops for future cinematic endeavours.

During the first day of the Fam Trip, location managers and producers were treated to a visit to several enchanting sites in Northern Evia. These included the stunning lakes nestled within the old, abandoned mines, the scenic Candili Estate, the inviting shores of Pili Beach, the bustling Mantoudi Port, or “Kymasi”, Kymasi Beach, and the archaeological area and beach of Kria Vrisi. The group also had the opportunity to take a stroll through the picturesque town of Limni. The Fam Trip continued on the second day, unveiling even more locations in Northern Evia to the attending professionals. Among the highlights were the mesmerising Lichadonisia island complex, the iconic Vasilina Lighthouse, the serene wetlands at Livari Istiaia, and the church and chapel of Panagia Ntinious. Considerable interest has already been expressed in utilising some of these locations for future audiovisual productions.

The culmination of the Location Scouting Focus took place on Saturday, with a master class delivered by Danae Spathara, line producer at Heretic. Titled “Shooting on Evia Island – Case Study: Triangle of Sadness [+lire aussi :
critique
bande-annonce
interview : Ruben Östlund
interview : Ruben Östlund
fiche film]”, the master class provided an analysis of her first-hand experiences during the filming of the movie helmed by Swedish filmmaker Ruben Östlund, winner of the Palme d'Or and nominated for three Oscars. Notably, a portion of the film was shot amidst the landscapes of Northern Evia.

Spathara shared the fact that the picture initially faced funding issues and had to change its original shooting locations after the plan to film in Thailand fell through. Giorgos Karnavas, producer at Heretic, suggested to Swedish producer Erik Hemmendorff that Evia could be a viable alternative thanks to its secluded beaches, wild forests and tropical jungle-like atmosphere, and so he introduced him to location manager Menelaos Mytilineos. One significant challenge they faced was that the main beach used for filming was a nudist area, requiring the production team to gain the consent of the nudist community. They successfully engaged with the community, and two members even joined the production and casting teams. Additionally, accommodating a crew of over 100 people for more than one month posed logistical difficulties.

The ever-changing weather conditions on the beach facing the northern Aegean Sea added further complications. The transportation of plants and vegetation from Athens to Evia had to be done by small boats, and the beach required daily cleaning to maintain its deserted appearance. The filming schedule also had to be rescheduled from April to September 2020, presenting challenges for the director of photography. The pandemic played a mixed role in the production: it helped create a sense of isolation that suited the film's theme, but it also necessitated daily testing, and the Swedish collaborators, who were unaccustomed to wearing masks owing to their government's approach to the pandemic, needed extra convincing.

The Location Scouting Focus was held with the support of the Greek Film Centre's Hellenic Film Commission, which has been running the Location Scouting Support Programme. The Evia Film Project is the Thessaloniki Film Festival’s third pillar of activities and was made possible thanks to the support of the Hellenic Ministry of Culture and Sports, as an integral part of the Reconstruction Plan for Northern Evia, in collaboration with the Region of Central Greece, the Greek Film Centre, the Municipality of Istiea-Edipsos and the Municipality of Mantoudi-Limni-Agia Anna.