Spiros Jacovides' first feature film is about breaking prejudices and liberating individuals, families, and modern society from frustrations. The film is stylistically crafted as a documentary simulation exploring the "vanished spirits of the public sector." Following the investigation of this social phenomenon, specifically the disappearance of the civil servant Panos Dologlou, the cameraman and sound technician end up at Haroula's door.

Haroula Dologlou (Eleni Kokkidou) is a widow and the mother of two sons. One is Lefteris (Julio George Katsis), in a wheelchair, and the other, Panos (Achilleas Chariskos), works in the public sector, supporting the family. He is the "missing" one, and at this point, Jacovides' film intersects content and form. The mother is determined to bring back her son, and nothing can stop her. She is a strong, inherently dominant maternal figure, adhering to a strict traditional pattern. She has become a point of contention for her sons: she has hindered both of them and blocked their lives. She assigned herself the role of a victim (executioner-victim), Lefteris as utterly helpless, and Panos as all-powerful: he must be stronger than he is. He must inevitably, unquestionably, and exclusively take care of his brother and her. Hence her unstoppable quest because she does not deviate from the given patterns.

Haroula's character has charisma, and the strength of that character commands awe. But there is also a devil woman in her, a term Haroula uses for Africans. She is very consciously but also deeply unconsciously burdened with numerous stereotypes and carries a violently ingrained fishbone in her throat. Ethnically altered contemporary society will further multiply her prejudices and frustrations. Belief in the national superiority and glory of her own people, in religious feelings, culture, and language, will clash with her fears and anxieties about numerous newcomers. The coexistence of the local population and immigrants is a social reality that Haroula refuses to accept out of fear of the new and the unknown. Not only does she close her eyes to it, but she also disparages, discriminates, is scandalized, horrified, angry, and hates. Genuine human empathy, true affection, and help will come from one of the newcomers, Michalis (Kevin Zans Ansong). He is such a selfless and warmly human being that he gets under the skin of even the relentless and ruthless Haroula. His family has returned to Ghana, and he misses them so much that he emotionally compensates by connecting with Lefteris and Haroula, finding in them a brother and a mother. He will also connect with the filmmakers, taking the initiative in the search for Panos and finding him.

The end of the film is both tragic and cheerful. Haroula will fully accept Michalis, but what will stifle her is the knowledge that her Panos simultaneously had an African wife and children. Life energy will pass through death. With the mother's departure, a new, multi-member, and mixed family will function, liberated from stereotypes. The film is life, and the quartet of actors plays so authentically and convincingly that you truly believe it is a documentary.

"Black Stone" has presented various forms of discrimination, indicating unequal treatment of people on many grounds. The film has also shown the way to overcome the problem,

demonstrating that the black stone of stumbling for this family was kitsch, foolishness, and a series of baseless prejudices.