
Αυτό το κάτι άλλο!
1963

1982
Director
Omiros Efstratiadis
Runtime
90 minutes
Average Rating
No ratings yetSynopsis
An unruly voyeurism, Simos, works in a hotel as a bourgeois. A gang of burglars has put in the eye of the hotel's safe. The members of the gang - five in number and very pretty women - are staying at the hotel, waiting for the proper opportunity for the burglary. Meanwhile, the hotel's daughter, Myrto, seeing that the hotel is not doing well, and believing that some people sabotage the business, represents the receptionist, in order to learn from the inside exactly what is happening. The passion of Simos makes him a companion of the five women's gang's plans, both to frustrate the burglary and to win the hand of Myrto, who has fallen in love with him.
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film lacks explicit queer narratives or non-heteronormative identities. The central romantic arc follows a traditional pursuit of a female lead by a male protagonist.
Gender Representation
A gang of five women acts as the primary drivers of the plot through their criminal agency. This disrupts conventional tropes by making women the tactical leaders of the story.
Racial & Ethnic Diversity
The setting appears localized and homogeneous, focusing on a specific social class. There is no indication of a multi-ethnic cast or diverse racial identities.
Religious & Cultural Diversity
The narrative explores class and economic instability within a traditional social framework. It prioritizes social stability and marriage over systemic critique or secular subversion.
Disability Representation
There is no mention of characters navigating physical, neurodivergent, or mental health conditions. No disability agency is present in the narrative.
Strengths
Areas for Improvement
AI Analysis
This 1982 comedy operates within the conventional cinematic tropes of its era. While it avoids many progressive themes, it offers a slight subversion of gendered roles by centering a female criminal element as the plot's engine. However, the film remains anchored in traditional romantic and social hierarchies. It lacks the intersectional complexity or diverse casting necessary to move beyond a standard genre piece. The focus remains on localized class dynamics and a heteronormative romantic resolution, providing limited representation for broader social identities.

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