“What happens with Diesel? Kramer fails where he should have succeeded (on the side of the spectacle, of business) and he succeeds a bit where he has never failed (on the side of cinematographic writing). His characters are badly drawn out, blurry, and not storyboarded; they don’t become types, let alone myths. But Kramer only ever took interest in the opposite: not the characters, one by one, but in what links them all. He’s interested in the link, not the linked ones. In this sense he is a modern filmmaker, i.e. not very American (he admires Resnais). He’s American in the sense that for him the link is tribal and never erotic or psychological. Kramer may have changed, moved, lived and worked in France, he knows what a tribe is, this mix of paranoid fascination and group narcissism. He knows it like any other American, from Ford to Cimino.”
— Serge Daney