The Greek Producers Association (SAPOE) expresses its surprise, indignation, and deep concern for the future regarding censorial practices adopted by EKKOMED regarding independent research and documentary filmmaking in Greece.
By means of a evidently unlawful decision, one that directly infringes upon the constitutionally protected freedom of expression and information, on 15 December 2025 (just one week after its initial approval) EKKOMED revoked the inclusion of the documentary “17N, Rise and Fall” by the esteemed and highly experienced journalist Alexis Papachelas in the audiovisual production support programme (cash rebate scheme). According to the revocation decision, the stated reason was “the participation of a person convicted of terrorism who remains unrepentant regarding his actions” (para. 23 of the revocation decision).
In this instance, the EKKOMED administration assumes the role of guardian of public order and overriding public interest (para. 27 of the revocation decision) in order to justify its reversal a mere week after approving the funding. As though Greece’s consolidated democracy and public order were endangered by the brief appearance of a convicted terrorist in a documentary created by a journalist widely respected for decades for the quality, depth, objectivity, and multi-dimensional treatment of historical, social, and political issues. This is particularly striking when a book of several hundred pages authored by the convicted individual is freely available on the market, and when he has previously given interviews to the print press.
This decision violates the Greek Constitution, the Charter of Fundamental Rights of the European Union, and the European Convention on Human Rights, as it constitutes an act of censorship incompatible with a democratic state governed by the rule of law. The extension of such reasoning risks leading down a slippery slope of censorship – one which, in Greece, has not disappeared but continues to manifest itself with increasing intensity (from attacks on works of art at the National Gallery to protests by extremist groups and legal actions targeting documentary film posters).
Furthermore, the decision contradicts the very legal framework governing the cash rebate scheme, as established by Law 5105/2024, which contains explicit provisions specifying the types of works that may be excluded by their nature. Unless EKKOMED considers that the documentary’s intent is to glorify, justify, or legitimise terrorism in any way, an assertion notably absent from the decision itself, and one that, if articulated, would verge on the absurd.
We call upon all those involved in artistic creation in this country, as well as all who believe that citizens possess the judgment, discernment, and intellectual capacity to evaluate what they see according to their own aesthetic and critical criteria -from a painting to a poster, from a documentary film to a commercial advertisement- to remain vigilant.