A disenchanted and strongly socially-inclined version of Latin-American magical realism coexists with the particular taste for dreamlike surreal fables that characterize Konstantina Kotzamani’s cinema. In “Electric Swan”, a building in Buenos Aires – inhabited by weird tenants, where poverty and wealth, dream and reality, cohabit – serves as an allegory for class struggle. The location is also a portrait of the Argentinian capital filtered by the filmmaker’s, born and raised in Greece, overflowing imagination: the building unexpectedly starts to move, water seeps in, the upper floors’ tenants become afraid of falling, the ones on the lower floors fear drowning, and people may turn into swans. Kotzamani, one of the essential names of New Greek cinema, has been a regular presence at Curtas, which has programmed her shorts “Washingtonia” (2014), “Yellow Fieber” (2015), and “Limbo” (best fiction award in 2016). She has also scripted Yorgos Zois’ “Third Kind”, presented at Vila do Conde in 2018, and was a member of the festival’s jury in 2019. (MD)