While it obviously has a great deal in common with Rosselini’s other work, and also with Antonioni, I was reminded most of Carol Reed’s The Third Man. Both are conspicuously set in ruined cities, and in both the black market is almost a character in its own right. Everyone seems to have a racket. Germania Anno Zero has many more virtues than the The Third Man, however. There are several moments that anticipate Godard, and despite Rosselini’s characteristic melodrama, the moral themes of the work are drawn with some subtlety.