Nikos Panagiotopoulos is the most suspended, ambiguous, intelligent, and, above all, non-serious chapter of our cinema.

He pretended to be making cinema so that others would not realize he was truly making cinema. Did he bluff, even if he often fell victim to his own bluff? He maintained a rare moral and aesthetic stance: he bluffed, but he did not deceive.

He did not attempt to be caught by the artistic police for fraud and forgery; he only forged himself, and that as a noble sport.