2.5. There are many who esteem this highly, but the films about boring urbanites and their love squabbles (I think of Maurice Pialat's We Won't Grow Old Together, for example, or, more recently, Zeki Demirkubuz's Destiny, and like exercises in relationship masochism) only irritate me. I'm all for unsympathetic characters, but when they're dullards to boot it's fatal.
Filmmaking within film. Filmmaker within film. The subject is the tool of deception, that is, the camera, as well as the camera man himself--film itself-- and in a roundabout irony, the subject here (the man) is subject to deception itself, as metaphor for a much deeper deception, that of a nation. In other words, no matter how deep your feelings run to catch up with reality, nobody is to be trusted. Brilliant.