"For the first time, the concentration camp is taken as an object of reflection on the world. The allegorical aspect prevails over the realistic aspect, and, paradoxically, this film is more realistic about the details of life in the camps than any other previous ones, which only showed the apocalyptic side," wrote Jean Douchet in Cahiers du Cinéma, while emphasizing how much the film is influenced by the fact that the style of Gatti, a deportee himself, is marked by his central preoccupation, the theater.

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