This film tells the story of three defeats: Berlusconi’s political and human defeat in his “twilight”, the one of Ciccio Mirra, Berlusconi’s unconditional supporter, deeply rooted in an ancient culture that dies hard, and the director’s artistic defeat in an Italy that recognised itself in this “Berlusconian culture” for a long time, and probably still does.

导演相信移民会是新世纪的重大主题，所以在本片中，莎士比亚的罗密欧变成了一个西西里少年，而他的心上人则是一名尼日利亚少女。此类电影可以记录和表达移民人口的迁徙感。当每一个人似乎都生活在一个新的地点，去别处旅行，形成耶尔所谓的“全球灵魂”时，流散电影就成为民族和区域文化取得广泛共鸣的另一种方式。

90年代意大利最佳超现实主义电影?!
variety的官方评论:


The best italian film of the 90's, the most extreme and radical work since SALO', a ruthless representation, in a surreal-metaphorical key, of a civilization condemned to worshipping its own blindness. The two sicilian directors use a language free from compromise and from the traditional storyline rules: the movie is photographed in a sharp and very contrasting black & white, with no beautiful pimp music, and lacks a logical story. There are no women (the ones we see are actually men), and the language is strict sicilian dialect. The directing style is characterized by long fixed shots on a post-atomic world, which is really present-day Palermo, inhabited by fat people in socks and underwear who burp and fart while roaming around smelly alleyways and waste dumps. And above all, there is the black humor of the two "cinics", acute, ruthless, and very intelligent. An extraordinary essay of surrealistic cinema in perennial confinement between drama and irony, between disconcertment and a liberatory laugh, the whole mixed with a profound sense of squalor and discomfort that accompanies the viewer even after the film is over. A film that shows the loss of certainty and moral values in today's world, the absence of order and sense: God is dead and man is alone in this abyss, this is what Cipri and Maresco seem to be reminding us of with a resonant blow.