Festival organizers are hyping the film as a 'deeply moving cinematic ode to humanity' that will linger long after the credits roll, framing it as an ambitious artistic statement.
Sources say Kliris isn't just making a period piece; she’s exorcising her family’s demons by blending fictional narrative with the raw, real-life displacement of her refugee parents.
1. The film world-premieres at the 30th Tallinn Black Nights Film Festival (PÖFF) on October 23, 2026. 2. Kliris’ previous film 'Find Me Falling' was the first Cypriot feature to premiere on Netflix.
This isn't just historical fiction; it's a personal reckoning with the scars of 1974, served up with Hollywood polish and indie grit.
Let’s get one thing straight: this isn't your average premiere announcement. Writer-director Stelana Kliris is dropping the mic at the 30th Tallinn Black Nights Film Festival with 'Apart,' a film that refuses to look away from the messy, painful reality of displacement. This isn't some detached historical reenactment; it’s deeply, uncomfortably personal.
The drama here is real, sourced directly from the trauma of Kliris' own family history. Kliris, a South African Cypriot filmmaker known for breaking barriers with 'Find Me Falling'—the first Cypriot film to hit Netflix—is channeling the lived trauma of her refugee parents into a narrative that swaps one divided country for another. We’re talking about leaving Cyprus in the 1970s only to land in Apartheid South Africa.
Talk about a change of scenery that doesn’t change the vibe of division. It’s the kind of juicy, complex backstory that makes for compelling viewing, both on screen and off. The cast is stacked with talent ready to carry this heavy emotional load.
Leem Lubany, who gave us chills in 'Omar' and 'Rock the Kasbah,' plays Eleni, a young woman forced out of her homeland through an arranged marriage. She’s joined by Luca Pasqualino, known for 'Rivals' and 'The Musketeers,' as Nico, the man she slowly falls for. The chemistry is reportedly electric, but the stakes are life-and-death.
Girley Jazama, fresh from 'Under the Hanging Tree,' rounds out the trio. The synopsis reveals that Eleni’s new life with Nico blossoms into love, but it’s threatened when an unexpected friendship forces her to confront a secret from her past. It’s a classic setup, sure, but Kliris insists the individual events surrounding the central fictional narrative are ripped straight from real-life occurrences.
No embellishments, just raw truth. That blend of fact and fiction is exactly the kind of drama we live for. Kliris didn’t hold back in her statement, admitting she’s always been fascinated by the irony of people like her parents emigrating from a divided Cyprus to a divided South Africa.
She wants to challenge the binary of 'us' versus 'them.' The film interweaves 1970s South Africa with flashbacks to the Cypriot past, using specific aesthetics to distinguish the two periods and locations. It’s a visual feast with a sting. With war and Apartheid serving as the backdrop, the focus remains tight on love, friendship, and identity.
It’s an intimate, character-driven approach that promises to deliver a more human experience than the usual grand historical epic. The cinematography by Simon Sarketzis and editing by Emilios Avraam are tasked with capturing this dual-timeline tension, and early buzz suggests they nailed it. The trailer, exclusively premiered by THR, offers a first glimpse of the emotions the protagonists experience.
The film is being sold by Reinvent Yellow Sales, with Kliris teaming up with producers Susan Simnett, Jamie Harvey, and Ioanna Bolomyti to bring this vision to life. It’s opening the Critics’ Picks section at PÖFF, a slot that signals serious artistic merit. The festival’s own website calls it a 'deeply moving cinematic ode to humanity,' which is high praise from curators who see thousands of submissions.
But don't let the flowery language fool you; the tea here is bitter and potent. For those of us who love our drama with a side of receipts, this is the perfect storm of personal history and cinematic ambition. Kliris is proving that the most powerful stories often come from the places we least expect, and she’s using her platform to ensure those stories aren't just heard, but felt.
The scandal of history meets the spectacle of cinema. It’s a must-watch.
