Critics reviews

Wertmüller, refusing the feminist label, is often criticized for her depiction of women, and a film in which all its female characters are prostitutes would be no less disconcerting if it weren't for how Wertmüller positions them; Salomè is pure anarchy, evading romantic entanglements to focus on the cause, while Tripolina is pure love, embodying a romantic ideal whose consequences are similarly affecting.