Landmarks of Central Macedonia: When History Meets Cinema

Filming locations as a tool for showcasing a region’s historical and cultural heritage

The iconic landscapes of Central Macedonia and their vast potential to highlight the region’s historical and cultural heritage were the focus of the event “Landmarks of Central Macedonia through the Machine of Time.” The event was organized by the Film Office of the Region of Central Macedonia, in collaboration with the investigative TV program “Machine of Time”, as part of the parallel activities of the 27th Thessaloniki Documentary Festival.

Attendees and Greetings

The event was attended by:

Élise Jalladeau, General Director of the Thessaloniki Film Festival
Akis Sakellariou, President of the Board of the Thessaloniki Film Festival
Athina Kartalou, General Director of the General Directorate of Cinema at EKOME

In her opening remarks, the Deputy Regional Governor for Tourism, Vicky Chatzivassiliou, stated:
“As the event’s title suggests, our land is the true protagonist here. Central Macedonia is an extraordinary and inexhaustible region, rich in landscapes, people, stories, and memories—elements that the cinematic lens can uniquely bring to life.”

She also highlighted the ongoing efforts to establish Central Macedonia as a filming destination, emphasizing that, beyond the economic benefits, this initiative significantly contributes to promoting the region’s cultural and cinematic identity.

The Machine of Time and Filming Locations

Christos Vassilopoulos, journalist, presenter, and director of “Machine of Time,” thanked the Region of Central Macedonia for the collaboration and presented the area’s iconic landmarks through excerpts from the show. Some of the featured locations included:

Mesolakkiá and Lákos, Serres
Potidaia Canal
Holy Monastery of Timios Prodromos (Imathia)
Psychiatric Hospital of Petra Olympus
Saint Nicholas of Naoussa
Niselli, Imathia
Kromni, Giannitsa
Chionochori, Serres
American Farm School, Thessaloniki

Mr. Vassilopoulos explained the process of identifying and utilizing suitable locations for TV documentaries, as well as the technique of “landscape replacement,” used when historical sites no longer exist. Ano and Kato Kerdyllia in Serres were notable examples, which were completely destroyed during the German Occupation. For the show’s re-enactment, filming took place in old Mesolakkiá in Serres, an abandoned village with architecture similar to the lost Kerdyllia.