A testimony that is not just an account of events, but a testimony of fear, oppression and silence that lasted for years. Lena Drossaki‘s complaint against Petros Filippidis reveals – with every line – the painful journey of a young woman in the theater industry who experienced psychological pressure, professional blackmail and, as she describes it, sexual harassment. The complaint made by the actress and included in the voluminous file was filed with the Disciplinary Council of the Greek Actors’ Association in early February 2021.

The story begins in 2007. Lena Drosaki is then 24 years old and attending the preliminary year of the drama school “New Greek Theater of Giorgos Armenis”. Her dream is to successfully complete the exams of the Ministry of Culture and move on to the regular curriculum. As part of the school’s courses, visits are made to the shooting of the TV series “Lakis the Sweetheart“. There he met Petros Filippidis, who was then at the height of his popularity, starring in one of the biggest TV hits of the time. From the very first moment, he seems to pay special attention to her. His approach seems friendly, benevolent. But soon, things change. According to her complaint, his behavior begins to become inappropriate – at first more covertly and then overtly. Drosaki describes phone calls during which Filippidis would speak vulgarly to her and repeatedly pressure her to give in to his desires. “When are you going to sit with me?” he would ask her, persistently.

She tried to push him away gently, but without provoking him. She feared – as she says – the consequences of a direct refusal. This fear is intensified when the actor threatens her directly: if she does not give in to him, he will see to it that she fails the ministry exams.

The denunciation culminates with a description of the day of the exam. Lena is waiting outside the Art Theater, on Frynichou Street, when Petros Filippidis appears in front of her. Once again, he looks at her and asks her – almost provocatively: “Will you sit with me?” She freezes. Her agitation is such that she finds it hard to concentrate. When she goes on stage for the hearing, she sees him enter the theater and approach the examining committee cordially. Just as the committee members turn their backs to focus on her, Filippides makes a gesture she will never forget.

Drossaki doesn’t pass the exam. As she says in her complaint, she cannot know for sure whether this happened because of his intervention or whether her performance was so affected by the tension and fear that she failed to perform. “I guess that’s something I’ll never know,” she says.

Life goes on. Lena Drosaki evolves, establishes herself, is awarded the Melina Mercouri and gradually leaves this dark memory behind. Until, in 2019, fate brings her another encounter with the man who – as she says – marked her. Katia Dandoulakis, with whom she has a relationship of deep respect, proposes to her to participate in the performance “Crime at the Oriane Express”. When Drossaki is informed that Filippidis will be the director, she politely declines, citing personal difficulties. Dandoulakis insists and invites her to her home. There, Drossaki hints, without fully revealing what has gone before. She asks if the director will be present at the performance, or only at the rehearsals.

The assurance is clear: he will only be involved in the rehearsal process, not appearing on stage. The production is large, the work artistically interesting, and the actress finally decides to participate. The first few days are quiet. Filippides behaves decently. Drossaki begins to think that perhaps time has changed something. But, as it turns out, the calm was temporary.

The complaint describes the repetition of a pattern she thought she had left in the past. First come the comments. Then the jealousy scenes. Then the humiliating attacks, outbursts and insults – in front of everyone or in private. The troupe, of course, is unaware of what has gone before. The pressure culminates when, one day, Filippidis – for no apparent reason – launches a verbal attack against her and her colleague, Lefteris Zambetakis. She believes, according to her, that they are having a love affair, which is not true.

The rehearsal stops. That night, Drossaki goes to Katia Dandoulakiand reveals the whole truth to her. He tells her that she can’t take it anymore, that the pressure is unbearable, that staying on the show is impossible. As she says, she wasn’t the only one. Neither Zambetakis nor Angelos Bouras – also a member of the company – could stand it. They left. And then came the decision: Katia Dandoulaki announced to Petros Filippidis that she would not continue as director of the show.

Drossaki closes her complaint by publicly thanking Ms. Dandoulakis. “It is something for which I will always be grateful,” she writes. “Because the truth is that it is not customary in our field – and perhaps in any professional field – for the strong to leave and the weak to remain.”