Thousands of pages have been written about Greek cinema, and even more has been said. From the beginnings of the interwar Greek film industry to today's digital image reality, everyone arrives at a common conclusion: The cinematography of Greek films has always been one of the strongest assets of domestic cinema. Greek directors of photography have left a very distinctive mark, and the level of their work has been recognized internationally countless times.

How have they experienced the changes in Greek cinema from the wartime years to today? How do they work with directors? What are the relationships that develop within the framework of a film? Is there such a thing as the famous "Greek" light?

In the episodes of this series, we watch them describe their lives in cinema, see excerpts from their films, listen to their descriptions and revelations, and get to know their work through rare photographs from film shoots.

Andreas Bellis quickly evolved into a distinguished cinematographer without ever working in Greece.

At a young age, he left for Paris in the late 1950s, and after his studies, he began as an assistant director to Alain Resnais on the film "The War is Over". He continued working as a cinematographer and soon found himself in Sweden, where he experienced rapid success and worked on several notable films, including the legendary creation by B. Siemann "I Am Curious... Blue".

Nostalgia brought him back to Greece in 1977, where he contributed to some of the most significant films of the New Greek Cinema.

He humorously reflects on his experiences in cinema and his acquaintance with Ingmar Bergman.

In the show about Andreas Bellis, the following people speak: Nikos Vergitsis, Filippos Koutsaftis, Christoforos Christofis, and Giorgos Panousopoulos.