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Hilariously offbeat. Think Fellini's \"8 1/2\" meets \"Sybil\" by way of Luis Bunuel and detergent commercials.

Dostoyevsky via Godard, under the sign of the Viet Cong. A psychotic embodiment of the split between theory and practice, the latter understood in a kind of Marcusean way as liberation of the pleasure principle from repression, so that practice, too, is ambiguously divided between political action and acting out. In short, there's an inability to resolve the questions animating the film, which consequently seems hamstrung. Kolker sees the film as a necessary exorcism: I’m willing to believe him.

81.000

Bertolucci doing radical-period Godard is about as clumsy and muddled as you'd expect, but nevertheless it has a certain stylistic verve that keeps it somewhat interesting for the most part.

Really obnoxious stuff