From its striking beginning to its conclusion, the movie transports us to an intriguing array of worlds, each more fascinating than the last. [spoiler] The first third is filled with commentary about the possibility of a mass bombing wiping London off the map, a disaster that is quickly foreseen. The central part is occupied by an elaborate evocation of the post-war countryside ravaged by plagues, while the final part shows the British venturing into space with all the proselytizing passion of Victorians sent to subjugate villains. [/spoiler]

The images and scenarios depicted in the film bring to mind notable influences, such as Fritz Lang's _Metropolis_, which explored megalomaniacal ambition in urban architecture, or German Expressionism, which is evident in the masterful use of shadows, chiaroscuro, and composition to depict the horrors of war. Furthermore, the film is reminiscent of visual symphonies like _Philips Industrial Symphony_ of '31,' which powerfully portrayed the manufacturing processes in mega-factories.

These cinematic influences skillfully intertwine within the movie's plot, enriching its visual narrative. However, the continuous soliloquies and exacerbating dialogues, along with various climaxes, contribute to an uneven pace that can be challenging to follow. The film navigates through a constantly fluctuating curve of attention, taking the plot through peaks of emotion, moments of deep reflection, and instances of intense action, as well as periods of calm. The result is that at times, the plot seems to meander, and the footage appears disjointed. At the same time, the philosophical weight behind the movie is immense. Every scene seems to question society, its progress and evolution, the purpose of science and knowledge, and even philosophy itself from a multitude of angles. While this rollercoaster of questions can be intriguing for some viewers, for others, the experience may feel negative due to its inconsistent pace and the lack of depth in each of the philosophical themes raised.

In conclusion, I want to highlight the scene in which the great Cabal, who bears a striking resemblance to the figure of Progress immortalized in one of the Nazi monuments designed by Albert Speer, delivers a grandiose technocratic canticle. This impressive sequence inevitably evokes Leni Riefenstahl, who, through works like _Triumph of the Will_, left an indelible mark on the visual representation of power and technology: 'Enough rest for the individual; too much and too soon, and we call it Death. But for Man, there is no rest and no end. He must go on, conquest after conquest. [...] And when he has conquered all the profanities of space and all the mysteries of time, he will still be beginning... The whole Universe... or Nothing. What shall it be?'