"...where [the film] skews from the expected path of the conspiracy thriller is that it has no interest in showing us the "whys". Rather, it focuses on the apparatus that enables these murders to occur ... Another way in which [the film] distances itself from more typical conspiracy narratives is its intimation that the tendrils of ultimate control extend from the corporate world, rather than the bowels of government."
"Pakula, perhaps more than any American director of his era, shared the Italian master Michelangelo Antonioni’s gift for indicating the personal through the architectural, through examining how space impacts on an individual’s life."
“Between 1971 and 1976 Alan J Pakula made a sequence of films that were dubbed at the time as a ‘paranoid trilogy’. Mostly self-produced this trilogy tapped into the liminal cinematic space between art-house and general-release that had been opened up by the success of non-studio pictures like Easy Rider ... what is noticeable is that 70s movies, like those of Pakula, sidestepped box-office formulas to work the nuances of film, creating complex ‘popular’ spaces that problematise an overly compliant audience acceptance of the powerful mythic dimensions of the official discourse.”