From a tragic misunderstanding, the farmer Stathis Karatasos (Angelos Antonopoulos) is accused as the leader of a notorious gang. He manages to escape just before getting executed and the law enforcement starts chasing him. Even the bandits are looking to find him, believing that he has the loot of the robbery in his possession. In addition, another prisoner called Tsakos (Kostas Kazakos) tries to locate him and bring him back dead or alive, in order to ensure the freedom promised to him by the police.
Vengos studies in a secret agents' academy, dreaming of becoming a great spy like 007. Unfortunately, he can't do anything right, so he wreaks havoc during his final exams.
A newlywed man who has just completed his national service, Alekos Stathakis, is trying to get over his class' misery, but doesn't have the necessary "equipment". He conceives an ambitious plan and submits it to a great concrete factory. He seems to believe that success is just around the corner and shares his illusion with his wife and his father. When his plan is rejected by the company, he keeps it to himself, making things even worse. He keeps leaving home to seemingly go to work and wanders to no purpose in Athens. He watches the world around him without really seeing anything, until a fatal accident ends his tragedy
One of filmmaker and expatriate writer Adonis Kyrou's best-known quotes translates roughly as "I urge you: Learn to look at 'bad' films, they are so often sublime." The same could be said of Kyrou's own directorial work in Greece before the advent of the 1967 dictatorship forced him to flee to Paris. This confused mess, the first cinematic attempt at portraying the Greek resistance in WWII, caused quite a stink upon release, as much for its surprising style (recalling that of Bertolt Brecht) as for its subject matter. Reaction to its screening as part of the 1966 Cannes Film Festival's International Critic's Week was heated and divisive, proving Kyrou's later statement by rising above its own inherent silliness to achieve a sort of rarefied critical status. It's bad drama that nonetheless succeeds by dint of audacity more than quality (a comment which could apply equally to the work of many exploitation directors like Jean Rollin whom Kyrou later so lovingly profiled).
Maroula comes from Syros, established in Athens, to work as a servant in a wealthy home, but the hostess takes her off. So he is forced to seek refuge in the house of three poor musicians whom he met on board: Flax, Tramp and Maneta. She thinks to return to her island, but they persuade her to stay with them and become a singer. Maroula falls in love with Lino, but at the same time her heart is beating for Mars (the son of the family who drove her, whom he has met by chance on the street). A little exaggeration makes her feel that Linus does not love her as much as he wants, so he recruits to Mars, but his mother does everything to separate them. Eventually he does. Linos comforts Maroula and even follows her in Syros, while Aris, who then decides to marry her, loses the ship.
