“[A] brazen and confident repudiation of pop postmodernism… [and] a comical, breezy affair insofar as farce and fervency harmoniously meet.”
– Morris Yang, In Review.
Tsonis’ brazen and confident repudiation of pop postmodernism belies the insecure, bravado-ridden Luca (who forgoes sleep for three nights just to better impersonate a corpse) and locates genuine empathy for him in his gradual moral turn. Keenly mindful of the hermeneutics of suspicion at large in our urbane social relations, Brando with a Glass Eye remains nonetheless a comical, breezy affair insofar as farce and fervency harmoniously meet. When, at the film’s denouement, Luca sacrifices personal for artistic freedom, it’s not merely a solipsistic gesture, but a selfless, learned one.
source: www.inreviewonline.com