Greek Filmmaker Unveils ‘The Boy With the Light-Blue Eyes’

Greek filmmaker Thanasis Neofotistos is set to showcase his debut feature film, The Boy With the Light-Blue Eyes, during the Works in Progress program at the Thessaloniki Film Festival, running from November 2 to 6, 2023. This film, described as a genre-bending coming-of-age story, explores themes of fear, superstition, and acceptance within a traditional rural community in Greece.

The narrative follows a teenager named Peter, who must navigate the strict confines of his superstitious village. Born with light-blue eyes, Peter faces ostracism, as the villagers view his appearance as an ill omen. His mother, attempting to protect him from the community’s fear, forces him to wear a mask while claiming he suffers from a dangerous “eye disease.” This protective measure is meant to hide his true identity from the villagers.

As the story unfolds, Peter and his best friend Aemon embark on an adventure to visit a mythical wind turbine situated far from their village. During this journey, Peter confronts the unsettling truth about his eyes and the deceptions surrounding him, leading to a painful reckoning that challenges his understanding of freedom and acceptance.

Neofotistos describes the film as “an allegory on acceptance in a society that is resistant to anything different.” He emphasizes that the story resonates with anyone who has felt excluded or struggled to understand their place in the world.

The film’s journey has been a lengthy one for Neofotistos, who reflects on its development as a “rollercoaster” over nearly a decade. The project originated at First Things First, an academy for young filmmakers from Southeastern Europe, supported by the Goethe Institute. The script underwent further refinement through the Mediterranean Film Institute and the Sarajevo Script Station, eventually gaining recognition at the Cannes Focus CoPro in 2022.

During this extended production period, Neofotistos created several acclaimed short films, including Patision Avenue (2018), which premiered at Venice and Clermont-Ferrand, and Airhostess-737 (2022), which was featured at Sundance and Toronto. These works have helped to build anticipation for his feature debut.

The Boy With the Light-Blue Eyes is a collaborative effort involving a seven-country co-production. Partners include Greek companies Argonauts Productions and Atalante Productions, along with filmmakers from Cyprus, North Macedonia, Croatia, Serbia, Romania, and the United States.

The film is particularly personal for Neofotistos, who hails from Epirus, a mountainous region bordering Albania. Growing up in a conservative family where religion and superstition intersected, he faced challenges due to his sexual orientation. “I felt really, really alone,” Neofotistos recalled. “My family didn’t accept me. But not only my family. I didn’t accept myself.” This struggle with identity and acceptance is a central theme in his film.

The director experienced bullying in high school, stemming from his differences, which led him to seek solace in cinema and literature. He describes this creative outlet as a means to escape and build new universes. “That was how I became a storyteller,” he said.

Neofotistos characterizes his film as a “dark folk tale” that offers a view of a timeless setting dominated by superstition, seen through the eyes of its young protagonist. He aims to blend reality with imagination, creating a narrative that resonates deeply with audiences.

Inspired by Guillermo del Toro’s acclaimed film Pan’s Labyrinth, Neofotistos clarifies that while his film incorporates elements of folk tradition and magical realism, it is not strictly a fantasy film. Instead, it delivers a straightforward narrative about diversity and acceptance, centered on the mythology of the evil eye—a superstition prevalent across Greece and the broader Balkans.

In this context, blue-eyed individuals, a genetic rarity, have historically faced suspicion and fear. Neofotistos sees this “fear of the unknown” as a fitting allegory for his exploration of otherness and acceptance.

Although the director’s personal coming-out journey influenced the film significantly, he asserts that it is not exclusively focused on a gay awakening. Rather, it presents a more universal narrative about the challenges many face in finding their identity. “Only when they realize what marks them as misfits or outcasts in their community can they truly come to terms with themselves,” he noted. “And oftentimes, this liberation comes at an important price.”

As the Thessaloniki Film Festival approaches, anticipation builds for the public’s response to The Boy With the Light-Blue Eyes. Neofotistos’s film promises to engage audiences with its poignant themes and rich storytelling, reflecting the complexities of belonging and self-acceptance in a world often resistant to difference.