A medical student (Pavlos Sidiropoulos) delays his studies to become a singer in this story of a man who follows his own convictions. He becomes a street singer and finds a young woman (Betty Livanou) he wishes to marry. After the two are wed, he returns to medical school to support his wife and family. He earns his medical degree and lands a job in a hospital. When he refuses to take part in the exploitation of the patients, he is fired. He opens his own practice but later quits when he is asked to participate in another fraudulent medical scam.
An experimental film using a mixture of techniques to portray the different views of the human body. It consists of seven parts, each one presenting an ideotype of the human body, from the beginning of civilization up to the present time. The body as a concept or dogma is simply the embodied reflection of every civilization, upon which man himself is established. The anthropomorphism that characterizes the sum total of perception, in a clear or latent state, comes from the fact that the human body, as reality, idea and expression, comprises the ultimate reference.
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Within the assertive climate of the years after the restoration of democracy in 1974, a fringe group, the blind, many of them beggars, protested by demanding Bread and Education and not Beggary.
Every performance tells a story. The characters belonging to the world of fiction become credible reality for the spectator thanks to the actor's technique. In Traces in the Snow the technique itself becomes the protagonist. The actor carries on a dialogue with the secrets, which precede and follow the building of a character and the creation of a performance – and its process, she exposes these secrets. The tension, which characterises every drama, is also present in this performance/work demonstration, due to the confrontation between the actor’s two forms of behaviour: daily and scenic.
