It ultimately lacks the vision and conviction to honestly and meaningfully dissect a contemporary political movement’s deep-seated structural malaise.
Michael M. Bilandic deftly captures the arrogance and despair of New York artists in their efforts to succeed in a decadent world that forces them to produce inherently epigonic work.
Roberto Rossellini’s film owes part of its emotional power to its mixture of politico-religious symbolism and quotidian humor.
The film’s attempt at political commentary amounts to a half-baked treatise on good governance in the face of tyranny and socioeconomic exploitation.