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).
In her delicate bridal gown and bent on finding her beloved, a determined would-be wife flees from a dreadful marriage of convenience and enlists the help of a kind wandering salesman. Can anyone stand in the way of a woman in love?
A good-natured paterfamilias who is struggling to make ends meet rests his hopes on his successful expatriate brother to finally see their older sister get married. However, is the wealthy sibling willing to help?
4 years after the Nazi occupation in Greece, the Greeks are involved in a Civil War and they are killing each other. Theodoros, a quiet and modest man, disgusted and disappointed, falls asleep and has a nightmare. Hitler is alive and the Nazis strike back with new, more powerful weapons.
