这部电影叙事节奏独特，像在老唱片机上做卡碟实验。影片全程在封闭的医院产房内展开，通过极简的台词和长镜头，营造出一种令人窒息却又极度真实的隔离感。影片节奏像坐过山车，满嘴荤段子、满身纹身的士兵在炼狱里大口喝酒、抽烟，把死亡拍出了黑色幽默的味道。汉内斯·豪恩演绎了一个居家男人，他试图用琐碎的日常消解内心的焦虑，但这种克制反而让戏剧张力拉满。如果你喜欢那种不靠特技、全靠台词和演技博弈、最后能让人陷入深思的硬核悬疑故事，这部片子绝对值回票价。这种压抑中夹杂着微妙温情的故事，没有歇斯底里的冲突，只有生活的褶皱。

This apocalyptic parable carries within it a clear echo of the 1968 invasion of Czechoslovakia. This unforgiving exploration of the Czech mentality tells the tale of a troupe of wandering actors who perform a passion play in some unnamed village. Fear of some unknown danger breaks out in the village, which is cut off from the surrounding world. Stupidity, selfishness and aggressiveness then come to the surface in this society under threat. In the film's key scene, a woman is raped by the self-styled leader. Zdenuk Mahler, who would later work on Forman's examination Mozart Amadeus, worked on the script.　　The director Evald Schorm (1929-1988) was one of the most original members of the Czech New Wave. During the normalization era, Schorm spent many years unable to direct. His last film, Killing with Kindness (1988) was only made in the twilight years of Communism. During that period when he was unable to direct films, he became an outstanding stage director. He directed groundbreaking productions at the Na zábradlí Theater and Laterna Magika.

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