Among them is the large yet oddly intimate portrait of "George III" (1771), in which there's a lovely play between the informal pose, the royal red military coat, and the delicate, even vulnerable, features of the king's face and hands.
Shot predominantly in black and white, with spot colour for a Jewish child's red coat the film's unique identifying mark it recalls the tradition of post-war Italian neo-realism and the even older photographs of Roman Vishniac of Jewish life in Poland before the Nazis.