In every country, there are dreamers and, in Cyprus, these dreamers are increasingly working in the film industry. Among them, the visionary duo behind Green Olive Films: Dionysios Manganis, Partner and Executive Producer for Cyprus and his brother, Simos Manganis, Founder, CEO and Executive Producer. Here, they explain how Cyprus is stepping into the frame of a new narrative – one shaped by vision, creativity and cinematic ambition. A new generation of storytellers is emerging, determined to place the island on the global film map, not as a mere backdrop but as a creative force.
The global film industry is now over 130 years old but, in Cyprus, the first local productions only appeared in the 1950s. “We are about 60 years ‘too late to the party’, though not without a reason,” says Simos Manganis, before adding, “We believe that the Government is determined to build a sustainable audiovisual industry, so we are catching up fast,”. Excitement laces his words. “As a country striving to claim a share of the audiovisual pie, we need to keep working hard, be consistent and professional. Success will come – that’s guaranteed. And we want Green Olive Films to be the brand that creates local stories for the world’s streamers.”
Founded out of a passion for storytelling
Green Olive Films, Cyprus & Greece, was founded 30 years ago, out of a passion for storytelling, and, as Simos Manganis tells me, “It has evolved into the biggest production powerhouse in Cyprus and one of the biggest in the region, servicing and producing local and international content, developing its own IP for TV series and feature films for the international market.”
The company’s journey began by servicing international productions – commercials, reality shows, TV series and feature films. However, over the last five years, the brothers have taken a bold step forward, co-developing and co-producing stories alongside major international players. This evolution, they are agreed, was natural, due to their growing reputation as experienced, trustworthy partners to global streamers and studios.
A film set in Cyprus, among Netflix’s top-ranked titles
I must confess that it was the Netflix hit Find Me Falling that led me to these two. As someone who had long turned away from conventional television, making only rare and deliberate exceptions, I had begun to rediscover screen culture through streaming platforms. And there it was: a film set in Cyprus, featuring among Netflix’s top-ranked titles. When had we seen that before? Never.
As the brothers explain, Green Olive Films has a body of work with character-driven stories grounded in Cyprus and Greece, yet resonant far beyond. These are narratives of emotional depth, cultural richness and international ambition. Examples include Find Me Falling (Netflix), The Castaways (Paramount+), The Ex-Wife (Paramount+), The Secrets of KEROS (National Geographic), Agios Paisios (Mega TV & Alpha TV), and Ancient Greek Philosophers (Cosmote TV History).
Despite the publicity brought by the success of Find Me Falling, Dionysios Manganis is quick to highlight that Green Olive’s journey began long before. “I have to say that I feel prouder of certain projects that we did years ago, which most likely no-one has ever heard of on the island. Back then, no-one knew that there was a production company in Cyprus capable of servicing big players like Amazon Prime and the History Channel,” he recalls. “We shot documentaries – one of them hosted by Kal Penn during his first ever visit to Cyprus in 2016 and 2017 – and organised the biggest underwater shoot ever done in Cyprus, for Estrella beer’s international campaign. Those were the projects that caught the world’s attention and proved to us that we could make this work.”
Technology and connectivity open cinematic lens wider
As technology and connectivity accelerates, the cinematic lens opens wider. Streaming platforms have become conduits for international storytelling, placing global narratives at the fingertips of audiences almost everywhere. In 2023, data from a Netflix Survey showed that over 30% of its viewership engaged with international cinema.
So, the world is watching and now, Cyprus is slowly but steadily stepping into the frame. “There is the cash rebate in place and a passionate Film Commission, which is great to begin with,” says Simos. “But we need to build a sustainable audiovisual ecosystem that maximises and sustains the cash rebate tool or any other form of audiovisual investment. Banking, insurance, bond companies, financing companies, experienced production accounting, production management, producing and project reporting methodology are still in their early stages. More experienced producers are needed on the island, with the know-how to secure return on investment.”
Domestic filmmakers and producers need to secure at least regional or European distribution when creating a project. “We are trying to build trust gradually by using our international experience, while working with streamers, broadcasters, international production companies, foreign banks and international financiers – creating projects that are filmed in Cyprus, building a trustworthy name for our company and for the island,” he explains.
Worldwide audiovisual and content creation spend around $243b in 2024
“The cash rebate scheme,” he continues, “is one of the most attractive in Europe. Although quite straightforward, it requires serious planning and organisation before, during and after every production. Serious foreign producers and studios like this process because it is clear, demanding and precise. The audiovisual and content creation spend in 2024 worldwide was approximately $243 billion. We want a part of this budget for Cyprus but we need to be consistent and reliable, to have a long-term plan for our scheme and gradually build a sustainable audiovisual ecosystem.”
According to Dionysios, Cyprus can be a filmmaker’s logistical dream: short distances between locations, more time spent on set, savings in transport and fuel, and, above all, light, thanks to over 300 days of sunshine a year. It’s a destination made for storytelling, helped along by the Cyprus Film Commission and growing government support. The industry, he says, is on the rise but trust and infrastructure must catch up. It’s a bit of a chicken/egg situation. To build infrastructure and get people to invest, you need to have a constant workflow. But without infrastructure, you won’t have that workflow. So, we need people to believe in the industry and help the island to grow in that aspect. We have shown repeatedly that the country can service a big number of international productions over one year, he adds. “We can’t shoot three large projects – with crews of 100 to 180 – simultaneously and sustain the high level of service required. We are simply not a big enough industry yet. Therefore, our aim is to shift the mentality of local and international producers – who typically favour shooting during the summer months – and encourage them to view Cyprus as a year-round filming destination. We believe that we could easily develop our film industry to support the entire island over the winter months as well.”
Cyprus has already proven its potential
When I ask the brothers whether Cypriot-made films can truly travel – commercially, culturally and globally – Dionysios does not hesitate. “With the right ingredients in place, yes!” he exclaims.
In his view, Cyprus has already proven its potential. Still, the story and its key players must have international appeal and be able to resonate with audiences beyond the island, across Europe and even further afield. For him, Cyprus’ strength lies in knowing how to fully utilise the island’s assets, with the rebate scheme serving as a powerful magnet for international productions.
“We are storytellers of the world,” says Simos in a true dreamer fashion. “We just happen to live in Cyprus where we are blessed with a rich and deep-rooted culture. We will use modern tools and we will invent new ones to help us tell stories that will fascinate and captivate audiences around the world. No doubt.”
Before we end our conversation, I ask the brothers to share a moment from Find Me Falling that most viewers wouldn’t know about. “On day three of filming, our lead actor, Harry Connick Jr. caught COVID-19,” recalls Dionysios. “He was out for seven days, so we had to extend the shoot for a week with limited money and resources. Everything had to be rescheduled – aligning the availability of the remaining actors, the locations, the crew. But we knew what this film meant for the island and for the future of the industry in Cyprus, so we got together and decided to push through, no matter what. The crew supported our decision and the goodness of people prevailed. Harry was amazing and so was our crew.”
I don’t know what the future holds for the Cypriot film industry but, after speaking with the Manganis brothers, I feel certain about one thing: Cyprus is not short of dreamers or doers and, if we truly want to become an international hub of not just business but of culture, then perhaps it’s time to give them an even bigger hand.
(Photo by TASPHO)
- This interview was first published in the July issue of GOLD magazine. Click here to view it
