Rollin trades the heavy atmosphere and slow pace of his earlier work for something more audacious and gory. In some parts it almost feels like a more refined Fulci flick (there's eye gouging!) but all in all it doesn't have that je ne sais quoi that makes some of the director's earlier films feel so ethereal.
Yet another of Wakamatsu's barely pink pinku eiga (emphasis on the crime part of the title, not the sex) incel character studies, infused with the energy of the French New Wave but devoid of the philosophy and sleek style on display in his other works from '69, making this one of his least essential films from his golden period.
Stunningly impressionistic. More like a painting than a film, sort of like Stalker but this is far more palatable.
The geometry of each frame is truly impressive. Antonioni must have labored immensely over such tightly composed shot - Each one conveys a feeling or informs us as to how we should view the situation on screen.
Milan has never looked so empty. An elegant woman walks alone through a half deserted city. The longer she walks, the more devastated the…
"One goes step by step into the darkness. The movement itself is the only truth."
- The Magician
"We often suffer from the delusion that we are attractive as long as we are masked. The public believes that it loves us when it sees us in light of our work and our public persona. But if we are seen without our masks (or even worse, if we are asking for money,) we are instantly transformed into less than nothing."