A full life, I suppose. (2024)

What are we making a portrait of when we make a portrait? What does the filmmaker wants his subject for? What does he use his subject as a way of talking about and what does he use his subject to avoid talking about? A diachronic portrait of the filmmakers' mother and an exploration of the home, composed with family archives and new footage. The film brings about the pleasures and misgivings of moving through a life, reflecting upon cultural specificity of the 70's in Cyprus Preliminary non-fictional in its approach, the film moves through biographical to lyrical. A marriage of images, language, and affects, with a sensibility for light and dark, gives rise to domesticity and the human content of objects in an interplay between filmmaker, mother and the elasticity of time.