Filmed over the course of two years, Combat au bout de la nuit is an epic journey to the heart of Greece today. In this country thrown into torment by an oppressive economy, institutional violence is met with stubborn resistance. Driven by both complementary and dissonant energies, the film is suffused with a desire for freedom and the rebellious power of the people it brings together. Whether they are native Athenians, Syrian or Afghan refugees, cleaning women or unemployed longshoremen, volunteer doctors or the homeless, all these men and women, all their stories, respond to each other and weave unexpected connections. By following the people who are struggling to build a different future, Combat au bout de la nuit leads us to the insight that amidst today’s chaos, a new shared world, its shape still uncertain, is slowly emerging.


Documentary, 285 minutes, 2016 ©Les films du tricycle


« L’Espérance’s film observes the lives of men and women, all of them archetypes of Greece’s reality today. Importance is given to their statements as well as the need to capture, in long takes, their individual feelings, expressions and gestures. The director takes his time, 285 minutes to be precise, to chip away at the surface. He follows political refugees, illegal immigrants, dockworkers, protesters and highly committed citizens. In addition to the harsh, social context, he captures sources of resistance and survival. His camera follows the flight of a seagull at dawn accompanied by the songs (not slogans) of labourers. He gives space to poetic recitals from the off, as for a YouTube capture of a grotesque parliamentary law making process in the presence of only three people, two of them silent and one protesting. » Dieter Wieczorek Modern Times review feb22 2017


Panorama Berlinale,  Berlin, 2017 / RIDM, Montréal, 2017 / Festival New Horizon Wroclaw, Pologne, 2017 / Festival TransCinéma, Lima, Pérou, 2017 / Split Film Festival, Split, Croatie, 2017 / Mostra de Sao Paulo, Brésil, 2017 / Festival international de documentaire en Cévennes, 2017 / Festival de Douarnenez, France, 2017

Director, cinematographer and soundman/ Sylvain L’Espérance

Research / Sylvain L’Espérance

Writting collaborator / Marie-Claude Loiselle

Researcher, Assistant Director and Interpret / Filio Chatzinakou

Editor  / Sylvain L’Espérance

Editing collaboration / Marie-Claude Loiselle

Sound Designer / Catherine Van Der Donckt

Mixage / Benoît Dame

Narration / Angeliki Kounenidaki

With the participation of /

Women housekeepers from the Ministry of Finance/ Foteini Nikitara, Evaggelia Alexakis, Despoina Kostopoulo, Georgia Oikonomou, Dimitra Manoli, Anna Poulaki, Anna Chrisikopoulo, Konstantina Petrousi, Manatalena Trianti, Vaso Gova, Anna Maria Zombou

Alexandra Pavlou,  at the Athens Social Clinic and Social Network d’Exarchia, Sipan Rojava, Syrian Kurdish refugee, Makis Mantas, doctor of the Athens social clinic and the Pedy clinic, Abdallah Marzouk, refugee in Athens, Sekou Djabi,  former shepherd from Niger, Ali-Ramin Alizadeh and the Afghans in Patras, Hamine, Algerian in Patras

At the port of Perama / Christos Karagiannakis,  Vice mayor of Keratsini, Kostas Liakopoulos, docker, Kostas Stefanou, docker, Adreas Volis, docker

In the house of Keratsini / Manolis Baritakis

as well as friends musicians and singers / Stelios Kalamiotis et les Roms du camp Chalandri

Spyros, homeless sailor met in Exarchia

Production and distribution / Les films du tricycle, Sylvain L’Espérance