Thomas is a 30-year-old film director in contemporary Athens. His great talent can only be matched by his infuriating arrogance, so when his first film tanks, Thomas finds himself humiliated and swamped in debt. Thomas’ life utterly sucks, until he sees the light in the face of an almighty producer, Max. The thing is, Max produces meat.
In fact, he is the biggest producer of pork meat in Europe, and he informs Thomas that they have found that pigs are sensitive to images and sound. What we call movies. Their response to the movies affects the hormones that they produce and if you show them the appropriate movie just before you kill them you can have meat with a divine taste.
In their research to find the perfect movie, they discovered that Thomas’ failed first film was highly appreciated by his farm pigs.
This is why Max needs Thomas to direct the ultimate “pig movie”.
Is it a tacky joke? A scientific revolution? Or a true artistic calling?
Thomas, hesitant at first, but in need of money, accepts the job.
Throughout the process, he will fall in love with an ingenious female scientist that works in the lab, Margarita, and, thanks to her, he will end up making his most personal film. That is – a total failure with the pigs.

Devastated, he will have to get back to his roots, in order to reinvent himself and discover what it really takes to give pork a taste of heaven.

It is a fine line between the tragic and the ridiculous, and this is exactly what challenges me most about this film. Pigs on the Wind constantly balances on that thin rope: around the film’s central idea – a man that makes a movie for pigs to see before their slaughter so that they taste better – grows an allegory so powerful that it might even be misinterpreted. What is the meaning of the artistic creation? Is the audience innocent? And, most importantly, how far can a man go to find his own voice?
At first glance, Pigs on the Wind explores the delicate and savage world of the film industry with a funny twist. However, this is not just a movie about movies. In a local film market that is currently mostly preoccupied with the economic meltdown, I did not wish to refer directly to the overused theme, although the film resonates its allegory and impact rather clearly. Greece is in the forefront of a European crisis, it is not only a crisis of finances, but also one that challenges the value system established in the 20th century. When Thomas signs his Faustian contract with the all-mighty producer, he has to literally get blood on his hands in order to earn his living. The core of the movie lies in this very process, where Thomas will attempt to find out who he really is.
Pigs on the Wind aspires to be a very dense film that, however, never loses touch with its surreal comic origins.