As many critics pointed out, the timely (but mostly tame and light) comedy was not too controversial, but too popular, too American, and too Hollywood to headline a festival that was scheduled to screen the likes of Robert Bresson's Un Feme Douce, Jean-Luc Godard's Le Gai Savior, Eric Rohmer's My Night at Maud's, Agnes Varda's Lion's Love, Paola Pier Pasolini's Pigpen, and Bo Widenberg's Adelen '31.