Series of half-hour documentaries on various neighborhoods of Athens.

Each neighborhood corresponds to an architectural concept-word that characterizes it both physically and socially. This word serves as a guide in the perspective, the selection of characters, and the elements of each neighborhood's portrait.

Exarcheia of challenge, Kolonaki of aristocracy, Omonia of the marginalized, Kypseli of immigrants, Kaisariani of refugees, Kifissia of decentralization, Aspropyrgos of the industrial zone, Paleo Faliro of memory, Akadimia Platonos of glorious past, Ekali of the elite, Ilion of denial, Perama of shipyards, Olympic Village of youthful dominance, Gerakas of anarchic development.

Historical and new neighborhoods of Athens reveal their true nature through a conceptual game with the words that architecturally and sociologically characterize them, the people who inhabit them, and the position they claim in the new cultural map of a city that stubbornly refuses to acquire a specific identity, constantly balancing between its heavy past, transient present, and uncertain future.

Three young directors - each with their own perspective - discover the keyword of each neighborhood, overturn their apparent dynamics, renegotiate the image bestowed upon them by "urban myths," and unlock what lies behind the captivating everyday life of its inhabitants, thus completing the re-mapping of a familiar "unknown" city in the most transparent manner.

With the structural element of "staircase," as a concept, Persefoni Milio ascends to Kolonaki.

Architect Dimitris Konstantinidis, an immigrant doorkeeper of a Kolonaki apartment building, the choreographer at the State School of Dance, sculptor Nata Mela, and her group of friends gathered for a meal, a young masked performer, elderly Tika with her domestic helpers, and poet Nanos Valaoritis, all take their place on the staircase of Kolonaki.

Starting from the physical demand of ascending a staircase, the documentary uses its physical connection to space to extend it into a social observation.

The aging of the myth of the area is represented by Tika's wheelchair, the discomfort caused by the lifestyle for the young masked performer is the constant motion without stopping.

The need to deconstruct the myth of Kolonaki is depicted through the parkour athletes climbing high vertical walls, the romantic perception of a spiritual elite is embodied in the steps and strict instructions of the choreographer, and the class dimension at the base of each staircase is represented by the bucket and sponge of the doorkeeper in the stairwell.

Thus, read through bodies and steps, Kolonaki is unexpectedly revealed as a landscape of struggle, encompassing ascent and descent, social and existential dimensions.