The splashy identity-issue photographs that Asya makes vaguely resemble the film itself, which conveys none of the self-mocking suggested by the title.
NEWYORKER: The Imperialists Are Still Alive!
2.
Asya meets no opposition and brooks little discussion, and the romance is as rigid, as shallow, and as schematic as the sociology.
NEWYORKER: The Imperialists Are Still Alive!
3.
Meanwhile, Asya tries frantically to reach her brother in Beirut as it is bombarded by Israel (in seeming isolation from world and regional events).