Written by Ilias Karagiannis
Greek-Australian director Veniamin, whose short film Golgo won the Australian Directors Guild’s (ADG) Best Student Film Director award and is competing for recognition at Australia’s most prestigious film awards, the AACTA Awards. Jaloulis has proven that he is a good manager. Gaining momentum in the world film industry.
His film, a fascinating reinterpretation of the Medusa myth, is set in the 1960s and tells the story of a Greek bride who arrives in Australia for an arranged marriage, only to discover a dark secret.
For Jaloulis, Golgo is not only a story about the pain and power of immigration, but also an homage to the sacrifices and trauma of previous generations. With meticulous production design, emotionally rich storytelling, and an authentic soundscape featuring ancient flutes, the director explores universal themes of power, loss, and transformation while honoring his Greek roots.
In an exclusive interview with the Hellenic Herald, Jaloulis talks about the importance of his cultural heritage, the challenges of storytelling across two worlds: Australia and Greece, and his ambitious future, including his dream of making his first feature film. Talked about the plan.
First of all, congratulations on winning the ADG Award for “Golgo”! What inspired you to adapt the Medusa myth into a story about a Greek bride traveling to Australia in the 1960s?
Thank you very much. Being recognized by your peers means a lot, especially when it comes to work as personal as Golgo. The idea came from writer Daniel Stamoulos, who approached me during my first year at the Australian Film, Television and Radio School (AFTRS). I was already aware of various Medusa myths, especially Ovid’s. And because we connected on the story of Aeaades, it became a really exciting prospect to work together to modernize the myth.
Themes of migration, sisterhood, and secrecy resonate strongly in Golgo. How do you think these themes connect with the Greek-Australian experience of the time?
It was sadly all too easy to draw parallels between Ovid’s Medusa myth and the story of the arranged bride who came to Australia. I think myths have always been important because these issues still exist and are so universal. That being said, I think our generation has been largely shielded from how difficult and harrowing an experience migration to Australia was, with an immense sense of loss and deep trauma, but also a deep sense of hope. . My grandparents definitely would not have been able to pursue art and today I would like to thank them (and my parents) for the sacrifices they made that allowed me to pursue my dreams. Masu.
The research process for this film was profound. It involved a lot of personal research by my own family and many discussions with Greek community groups and academics. Sydney’s Greek community responded strongly to the project. We could not have achieved this success without the continued consultation and support of the Hellenic Lyceum of Sydney, in particular Dimitra Mikos and Liana Verzaias. The number of people they brought on board to help and support this project really shows the strength of the sisterhood that still exists today between Greek Australian women of all generations.
The 1960s was a transformative decade for Greek immigrants in Australia. How did you approach capturing the cultural and emotional complexities of the time in the film?
My team and I really got to create the world. Making a short film on a budget is no easy feat, especially when it comes to making short films. We were really lucky to find a home run by an elderly Greek Cypriot woman. She had just moved and from what I understand, she hadn’t renovated the house since the 50’s. That means beautiful wallpaper, a great kitchen, and everything was accurate for her (and for our movie world). We also raided the family’s personal archives. Especially when it comes to photography, one of the key pictures in this movie is of the real yiayia and her sisters.
Cultural consultants definitely helped me navigate the complexities of culture, but my experience and that of the cast and crew also helped. I’m really proud of the relationship dynamics between the characters and how sincere they feel. When a predominantly Greek-Australian audience watches this film, you can always tell when they laugh or gasp compared to the general audience. That’s because they understand movies on a deeper level.
Golgo was photographed in a relatively strict style. Many scenes unfold in one shot and not much is said. Music usually does a lot of the emotional heavy lifting, but I also wanted the film’s music to be represented by a single ancient instrument called the auros. My composer sought out one of the few aulos players in the world and worked with them to create some of the most beautiful and haunting music. As far as we know, this is the first time a film score has been written specifically for this instrument.
Winning the “Best Director of a Student Film” award is an important milestone. How has this recognition influenced your career and future projects?
It’s only been a week since the win, so we really don’t know what kind of impact it will have. But this one definitely has a lot of personal significance, especially considering the AACTA nominations are just a few days away. And the Directors Guild Award is given to you by your peers. It’s really meaningful and feels great.
I heard that you split your time between Sydney and Athens. How do these two cultural environments influence your storytelling and perspective as a filmmaker?
I was already working on Golgo before moving to Athens for part of 2023. That really touched my heart. I was going to go there again this year, but I couldn’t go back because I had filmed some projects, but I’ve already booked my ticket to go back in early 2025. I think we were able to achieve more creative results in Athens than before. I have eaten there before and after.
Needless to say, Australia and Greece are very different. I love Australia and Australian movies, but there’s something special about being in Europe. It’s very easy to travel and there is a lot of cultural exchange. Greeks are very generous, but they are also very brave and are not afraid to say exactly what they think. And as I start to get more familiar with modern Greek artists and creators (such as Cavafy and Fasianos), I feel them starting to seep into my work and how I see things as well. I feel very lucky to be able to dip my toe into both worlds.
Your Greek-Australian heritage should have a unique place in your identity. How did growing up in this dual cultural background shape your perspective as a storyteller?
My Greek-Australian heritage is such an essential part of me that it’s hard to separate it from my perspective as a storyteller. Growing up, having this dual identity felt perfectly normal, but as I got older I realized how much it shaped my worldview. Being part of two cultures allows you to see things from multiple perspectives. Constantly balancing different traditions, values, and histories creates a natural curiosity about identity and belonging. As storytellers, this duality often leads us to explore in-between themes of migration, isolation, and migration, whether in physical space or within our characters.
Do you think your Greek heritage influences the types of stories you’re drawn to and how you portray characters and themes in your films?
absolutely. I have always been very interested in history and mythology. I think I was eight years old or so when I first read the illustrated Iliad. And when I was 11 years old, I tried to write my first screenplay, and it was about the Gates of Thermopylae. So it’s just the essentials and it’s hard to really understand where it starts. But I was always trying to write and tell stories, and I was obviously very inspired by what I was reading.
Greek mythology, in particular, is an excellent framework for exploring universal themes such as power, loss, and transformation. But I also want to go beyond mythology and delve into the very personal and human aspects of these stories. My goal is to portray characters who feel real, who carry the weight of their history but live in the moment, laughing, suffering, and finding connection in unexpected ways. For me, it’s important to respect both the beauty and flaws of these stories. Because there is truth in it.
Can you tell us a little about your personal journey? Where were you born and raised? How has your upbringing influenced who you are today? Do you speak Greek? What role has the Greek language and connection to Greek culture played in your life?
I was born and raised in Sydney, Australia. Unfortunately, I didn’t grow up speaking Greek. It’s completely my fault. My parents tried but I refused. So, as an adult, I’m trying to improve my Greek (but I’m still bad at it, and it’s not my teachers’ fault; they’re trying too).
That being said, my heritage plays a huge role in my identity. I have a large family, and food, culture, and growing up Orthodox are all big influences. Everyone knows that even though you have the name Benjamin, you are from somewhere and there is no escaping it. I’m really proud.
I think the most confronting thing was that after spending so much time in Athens, I became acutely aware that I wasn’t just Australian, I wasn’t actually Greek, I was a kind of third thing. I think so. And I like whatever it is and think it gives me an interesting perspective on both Australianness and Greekness.
Finally, what’s next? Can you tell us more about your upcoming projects and your journey in the film industry?
Well, I have finished producing two short projects this year. One is almost finished and the other is just starting to edit. However, once those are finished, I would love to create a special feature. It’s a really difficult and grueling process to get a film financed, but I’m hopeful that with recognition at the Directors Guild Awards and other awards, it might become a reality. In any case, I would like to continue creating works that I value.
