The core of the family, along with its suffering and breakdown, remains unchanged from the time of Greek tragedies to today, regardless of historical, cultural, or social contexts.

In the tragicomic social satire "Black Stone," directed by Spiros Jacovides, we enter the intimate environment of a matriarchal family through a documentary structure and a voyeuristic approach of the camera. The mother's portrait is introduced through interviews and monologues, revealing a concerned and, at times, childishly honest and smiling Mediterranean mother, full of hope for the bizarre situation of her idealized son. A mother who would do anything for her family provider son is unprepared to discover, let alone accept, the real truth about him and his secret family. The other son is a wheelchair-bound invalid, and she is forced to care for him. He is a perceptive and realistic character but not the mother's favorite. Through the prism of the family situation, the director guides us through the transitional changes and identity crises of contemporary Greek society. A society that is inevitably changing, and with it, the structure of the Greek family becomes a community of people of different skin colors, different religions, and cultures. Simultaneously, a world full of prejudices and ghosts from past times of our Greek heroine is slowly disappearing irreversibly, but unfortunately, Haroula must disappear with it so that Panos and Lefteris, who remain, can finally be the masters of their lives.

Although set in a completely different historical-cultural and social context, the film "Sweet Dreams" has a thread that connects it with the previous one: the disappearance and breakdown of the old and the foreshadowing of a new family concept. The family drama "Sweet Dreams," directed by Ena Sendijarević, placed in the specific historical context of colonial Indonesia, shows an interesting perspective of a family falling apart along with the colonial era. The moment of the sudden death of the head of the family triggers a series of changes in the family. The existing family, i.e., the master, his wife, and the concubine who has a son with the master, in a moment of change, becomes an unnatural community of alienated and grotesque characters who build complex relationships based on their utilitarian power attitudes. Agatha is a typical representative of Dutch bourgeoisie, accustomed to privileges and wealth, and a comfortable life of the colonial era. Unable to reconcile with the changes and the disappearance of the world to which she belongs, she chokes in a heap of sugar. The alienated unhappy son and his pregnant wife, grotesque in seeking their own erotic pleasure during late pregnancy, disappear in the fire that consumes all the privileges and wealth of the old era. The only one saved is the child of the servant, the son of the white master, who belonging to both worlds, remains as a symbol of the new world.

The theme of a father whose eternal longing remains for his abandoned sons continues in the film "Luxembourg, Luxembourg," directed by Antonio Lukich. It is a film about two twin brothers who, each in their own way, bear the consequences of their father's departure. It is a tragicomic story about the complexity of family relationships. Kolja and Vasya try to prove themselves in their own worlds, but interwoven with deep trauma, they remain maladapted and

disoriented. We watch a subtle but thin line between drama and comedy with a heavy emotional ending, where irony played with the years lived in infantile trauma. The complex feeling of Kolja's love and the complex feeling of Vasya's hatred toward their father ultimately simplify into a unique feeling of melancholy and regret.

Although set in Denmark, one of the most advanced contemporary European environments, even in the film "Copenhagen Does Not Exist," directed by Martin Skovbjerg, the family is not spared painful alienation and a difficult relationship between Porath and Ida. Through stories from the past and the present, we follow two young people connected by trauma. Ida and Sander try to find solace in each other through the story, as well as a solution to the fears, dilemmas, and destructive internal processes that devour them. Ida's suicidal and anorexic father and brother, now in the role of provocateurs and violent figures, conduct an investigation into Sander. It is proof of the bitter alienation of the family and gives the viewer a reason to reflect on the background of the emergence of all these psychological chains and the suffering that young characters carry within themselves.

Analyzing various forms of painful alienation, tragedy, and the disappearance of families in the mentioned films, the question arises of how to preserve the family as the core of hope in today's era of globalizing injustice, wars, and universal inhumanity against the post-modern and neoliberal consumer chaos.