Technically, the movie is undeniably beautiful: superb photography, great camera management, superior acting performances.

Conceptually, it is a supreme act of cinematographic onanism: it is cinema talking to itself about itself. And, as if it was enough, wining at the inner circle of cinema initiated, i.e. Those knowing in detail, among others, the relationship of Jay Sebring with Sharon Tate and Roman Polanski in 1969.... And what is if not supreme cinematographic onanism the final statement of the movie that Hollywood can re-write history as it pleases?