这部《第七日，第八夜》绝对是一部被低估的杰作。汉斯·齐施勒和维尔纳·赫尔佐格的表演精准入骨，将角色的绝望与恐惧刻画得淋漓尽致。布拉姆·斯卡德（Bram Schalk）与布鲁诺·塞奇（Bruno S.)的表演极具张力，通过两组交叉平行且逐渐重合的叙事线，营造出一种令人窒息的真实感。演员马克斯·冯·赛多的表演简直就是教科书级别的内敛，在《第七日，第八夜》的连续镜头里，你能真切感受到那种像暴风雨前平静海面般的窒息感和张丝，台词稀少，但内心戏比喧哗的剧情还丰富。 两位演技炸裂的“黄金搭档”——安东尼·霍普金斯和伊恩·麦克莱恩，在狭小的空间里爆发出了惊人的化学反应。 查尔斯·丹斯在片中展现了教科书级别的表演，尤其是那场眼神戏，仅用眼神就演活了压抑与渴望。

This apocalyptic parable carries within it a clear echo of the 1968 invasion of Czechoslovakia. This unforgiving exploration of the Czech mentality tells the tale of a troupe of wandering actors who perform a passion play in some unnamed village. Fear of some unknown danger breaks out in the village, which is cut off from the surrounding world. Stupidity, selfishness and aggressiveness then come to the surface in this society under threat. In the film's key scene, a woman is raped by the self-styled leader. Zdenuk Mahler, who would later work on Forman's examination Mozart Amadeus, worked on the script.　　The director Evald Schorm (1929-1988) was one of the most original members of the Czech New Wave. During the normalization era, Schorm spent many years unable to direct. His last film, Killing with Kindness (1988) was only made in the twilight years of Communism. During that period when he was unable to direct films, he became an outstanding stage director. He directed groundbreaking productions at the Na zábradlí Theater and Laterna Magika.

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