During the shooting of a commercial on a beach, a middle-aged man suddenly appears in front of the crew and vanishes into the sea. The camera has recorded everything out of this paradox but the company, in order to avoid scandal, announces that whatever occurred was part of the commercial campaign. The sound engineer and composer of the commercial spot however, ignoring the whining of his partners decides to solve the mystery…First feature film of Panayotopoulos which was which was characterized as “anti-heroic” and “anti-ethical” that examines show-business in a surreal manner. –naftemporiki
Nikos Panayotopoulos’ first film (The Colours of the Iris) was the most unexpected film to come out of New Greek Cinema, because it appeared to be skirting the urgent demands of that cinema which, at the time, were its relation to the necessity for historical memory (Theo Angelopoulos’ Days of ‘36 and The Travelling Players, and Pantelis Voulgaris’ Happy Day), and the radical viewing of Greek society (Angelopoulos’ Reconstruction and Voulgaris’ The Engagement of Anna).
Panayotopoulos offered another dimension, which was equally important. His cinema came from the French nouvelle vague, but not as a conventional, Greek version, an imitation of the freedom and subversion that mainly Godard had formulated, but as a completely new cinematic proposition, with a fully emancipated, personal écriture.
For Panayotopoulos had Πand still hasΠ his own luggage; containing, first and foremost, irony, an ingredient which is difficult and volatile in its handling. From the Locarno Film Festival… read more