[5][2] Her directing career began in 1948[5] with her adaption of Dimitris Bogris's The Engagements (T’arravoniasmata), released in 1950 and featuring Aimilios Veakis in the leading role.
[2] Working alongside Athenian writers and directors Alekos Sakellarios and Giorgios Tzavellas, she managed to slowly begin creating a name for herself in a heavily male-dominated field.
Her work is characterized by dark atmospheres depicting trauma and loss through her interior settings, lighting, and effective camera shots.
The most obvious example of this skill can be found in the 1962 film, The Shoe-Shine Boy, when two young characters begin to have sex and a cross appears above them on the wall[3] symbolizing the relationship of the practice of marriage with regard to intercourse.
[7] She was consistently meticulous with regards to the designs of her work despite budget restrictions, prejudice, and rejection based on her gender and lack of experience.