Zahos Fokianos is a businessman who flirts with various women. Teta, the daughter of one of the women that Zahos chases, has fallen in love with him but is hesitant to confess her feelings. But when Zahos realizes what is going on, he will feel twenty years younger, travel with her in Europe, and on return he will find that he and the girl are not the only couple who enjoys happiness.
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).
Set in Athens, this Greek film concerns the trials and tribulations of two girls from the village of Korfu. Unschooled in big-city ways, our heroines are prime targets for every sharpster and lothario in the city. The results of their naivete are more comic than dramatic, culminating in lasting romance for both ladies. The plotline is periodically interrupted by the performance of Greek folk dances, easily the highlights of the film. Indicative of the frugality of the Greek film industry is the fact that, at $80,000, this was the country's most expensive production up to 1957!