Greece, 1986-1987. A few years before the fall of the Berlin Wall, and right after the soviet Chernobyl disaster. Anthi writes letters to her husband – away, in Moscow – telling about the family’s daily life, the social changes in Greek society, and her concerns for the future of humanity. Woven as a collage of archival images, found footage, home videos and photos, “Bella” uses documentary-making tools to create an intimate portrait that resembles a time machine. Greece’s victory over the powerful Soviet Union in the European Basketball Championship, the birthdays, the absences, the dissipation of the tensions that marked most of the 20th century, the dog’s bath and the kid’s homework, the triumph of a capitalism that leeches “to the bone, with its tricks”, the hope. But Anthi is not a fictional character. Her – real – letters were found, many years after being written, by filmmaker Thelyia Petraki, making her debut at Curtas, and originated this work of hybrid time, space, and format. (JM)