Barton Byg, for instance, acknowledges that Die bleierne Zeit “constructs a powerful cinematic evocation of a land burdened by its past,” but he claims that the film’s power comes from “the acceptance of mass culture as a language or sign-system into which neither the critic nor the artist can intervene from the outside. They accept the film industry as it is rather than propose a radical alternative.”//Brockmann, S. A Critical History of German Film[M].New York: Camden House, 2010:385
"idk..it was like..falling into a hole.it keeps getting bigger and bigger. you cant get out.all of a sudden, it's inside.and you are the hole.you're trapped. and it's all over."