A more powerful suggestion runs through the film though: that true revolutionary acts—those that prioritise revolutionary logics against personal survival or family needs — lie beyond the purview of the film's white characters. Only in Perfidia, Sergio, Avanti, and Willa the revolution lives on.

2.The distinctly American critical stance towards radical vanguardism, embodied by the French 75 group. A positive vision of resistance emerges only at the margins in Del Toro’s character and the local community's fight, but isn't the latter also a very American idea of legitimate resistance?

1.The references to Kubrick and Eyes Wide Shut: from the names of the characters (Lockjaw above all) to the juxtaposition of sex and violence; from the evil cabal of the Christmas (!) Adventurers and their parties ('apologies for all the *cloak* and dagger') to the tiger portrait behind DiCaprio.

I agree as I share your pessimism. ISA in Chicago was an eye opener for many.