The artisanal production of Greek commercial cinema in the 1960s proposed through its popular genres a series of realistic constructions, aiming at the entertainment of an audience that sought comfort and "a piece of life" on the big screen. From the middle of this period, the judicial cycle, as established by screenwriter and director Nikos Foskolos, the geometric melodrama as a "moving photo-romance," and the soft erotic film of the 1970s with its cosmopolitan aesthetics produced a series of "inverted idols." Through morality and conservative discourses, they undertook to represent and interpret a world that seemed to change slowly but steadily, presenting a version of it where moral and legal order are always restored. This book proposes a cultural reading of the above case studies and detects, using various tools from the social and human sciences, the way in which a cinematic approach to reality is introduced.