Enrico is clearly a personal filmmaker — he returns obsessively to themes of time and memory, images of families and homes shattered in the most terrible, irreparable ways — but all his films after
Au coeur de la vie... and Zita fail of deftness and suggestibility as visual experiences, being all but indistinguishable from the hackwork of other commercial French filmmakers typified at their best by the «Tradition of Quality» boys.