A treaty of irony about the little man inserted in the big machine that makes him a little-big-man inflamed by a self-esteem ignited by the perversion of a crusher system. As Elias Canetti's "Die Blendung", mankind is a hellish tangle of pathetic interrelationships. It's not, alas, a great film formally, without the imagery of his usual editing of intervals, keeping the perspicacity of his narrator voice-off.
Political cinema at its apogee which unites two extremes: the power, as another reviewer correctly put it, bestowed on a banal person by an equally banal, in its bureaucratic artificiality, system. The echoes of the Nazi machinery are palpable and pointed at and the film's formalism (as in the marvellous home aquarium scene) are apposite in denoting a society's infatuation with Schmittian emergency-state and risk.