Twenty-seven years after one of the most remarkable acts in European sports history, a short documentary revisits the moment when Greek club AEK Athens traveled to Belgrade in the midst of war to play a symbolic soccer match promoting peace and solidarity.
On April 7, 1999, during the NATO bombing of Yugoslavia, AEK defied volatile conditions to face Partizan Belgrade in a friendly. What might have been a routine sporting event became a powerful gesture of unity, sending an international message of peace, human dignity and support for civilians affected by the conflict.
That story is the focus of “The Game of Solidarity: AEK – Partizan 1999,” a short documentary by filmmaker Ismini Sakellaropoulou, which reconstructs the historic initiative through rare archival footage, firsthand testimonies and a narrative approach that emphasizes the unifying power of sport.
The film premiered on November 22, 2025, at the 11th Peloponnisos International Documentary Film Festival, held in collaboration with the Nordic/Docs Documentary Film Festival. The partnership highlighted growing cultural ties between Greece and Norway and underscored the role of international co-productions in fostering creative exchange.
The documentary was also part of a broader micro-documentary competition aimed at promoting intercultural collaboration. Nordic participants included Maria Benjaminsdottir, Ingrid Fadnes and Marius Captare, while the Greek entries featured Sakellaropoulou, Irida Mouzou and Alkistis Voulgari.
Sakellaropoulou’s film has since been selected by several festivals in Greece and abroad, earning notable distinctions. It was recently screened in Athens at the Iris cinema on March 26, as part of the Greece International Film Festival.
Speaking about the project, Sakellaropoulou said the idea emerged while researching AEK’s history. “As an educator and filmmaker who loves sport, I believe such acts should be remembered and not fade into oblivion – cinema is a way to preserve them,” she said.
She added that rising violence in and around stadiums makes such stories even more relevant. “What moved me most was the immediate response of all the contributors to bring this idea to life,” she noted, highlighting the contribution of photographer Theodoros Georgiou, who provided 63 images from the 1999 trip.
The documentary also features archival interview material from Manolis Glezos, the late anti-Nazi resistance figure and former MEP, who reflected on the emotional impact of the match, recalling how the two peoples embraced inside the stadium despite the conflict surrounding them.
The production involved a broad team of collaborators. Aris Tsimogiannis served as associate director and executive producer, while Nikos Koromilas handled cinematography and, together with Konstantinos Palikaras, sound. Motion graphics were created by Mariareta Androulaki. Archival material was sourced from multiple contributors, including media outlets and AEK supporters.
The film’s narration is delivered by actor and AEK supporter Giannis Vouros, while former players such as Ilias Atmatzidis and Charis Kopitsis – both participants in the 1999 match – appear in interviews filmed at the AEK History Museum.
The AEK anthem was re-recorded by the Kalavryta Philharmonic Orchestra, adding another layer of historical and emotional resonance.
