It’s very interesting that Koundouros gives a lot of importance to music and dancing sequences as fundamental rituals for desire, amusement and even sacrifice, all of them part of night life, instead of some other genre codes like a possible encounter with the real criminal, or a detailed police operation or/and an eventual climax during the last robbery. The film focuses on Thomas, the clerk and the social atmospheres from worlds in which he doesn’t even belong, but he’d probably like to. Perhaps that’s the reason for the high pathos when the police and other characters have their anagnorisis (ἀναγνώρισις): They, or make fun or feel disgusted. In the neighborhoods, at the cabaret, at the police station, they’re prepared for another kind of nocturnal stereotype, but a stereotype after all. The paradox is that It’s not easy to transform oneself to become someone else or to stop being someone else from one moment to another. Koundouros focuses wisely in constructing the oposition Desire against Shame, not just for the clerk, but for all the characters, who wanted to fulfil what a hierarchical society expects from a man with any kind of power.

However, with being stabbed at the end and not allowing Hondros to help him, Thomas probably redeems himself, thus achieving the decision on his own dead. Thomas renounces to his possible identities, renounces to Roula as a possibility of love (or some other feeling related to admiration?) and renounces to any kind of power or hierarchy for himself or for others. Probably the negation of existence is his only victory, as the final conquer of some concept or symbol that has his dignity as a starting point.