Reception
Michèle Manceaux [ fr ] from L'Express described the film as "a Pirandellian idea [...] tinged with existentialism, and all drowned in an incredibly naive pathos, full of the [naive] humanism of a first communicant, with a lyricism that borders on bad taste". [2]
Jean-Louis Tallenay from Signes Du Temps wrote: "two fascinating faces, an original subject, a skillfully created atmosphere. But a confusion of ideas, an uncertainty in the direction of the actors and an affectation in the framing explain the rather cold reception given to the film". [1]
Bianco e Nero's film critic Giulio Cesare Castello [ it ] wrote: "On one hand, it seems like a story in the style of Hitchcock, poised between emotion and deception; yet it lacks Hitchcock's skill in construction and his talent for thematic variations. On the other hand, one gets the impression that Hossein aimed much higher — for an "absolute", passionate love story set under exceptional circumstances", noting that "Hossein would certainly have liked to create his own Hiroshima mon amour . But [...] the "necessity" of inspiration — the purity of the poetic condition — is entirely absent here". [3]
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