Part of the film takes place in a small section of Copenhagen called "The Zone", a supposedly closed off and impenetrable area that appears to be just another part of town but with an invisible screen that ripples when touched. Thomsen's journey to retrieve his memories takes him into The Zone, through a maze of streets, halls and doors that never remain constant. One scene, when Thomsen opens the door of a dark hallway to find himself in a forest made me think of the novels of Haruki Murakami, who also explores art and memory. This description by Matt Thompson in "The Guardian" could well fit Boe's narrative: It is more a case of "finding something." To generalize, Murakami's main character tends to be a man who is somewhat out of touch with his own feelings. Through his encounters with women, he discovers clues as to how his sense of self became unraveled. The man is a detective, but the crime has somehow happened within himself.

As humorless as Ulrich Thomsen is in Allegro, Boe is playful. There is a deadpan sense of humor regarding The Zone, with Thomsen finding himself in unlikely places. Part of the narrative is animated, with simple black and white drawings of the pianist as a young boy, with his piano and his box of memories. I am baffled that Allegro was not as well received theatrically as Reconstruction, especially as it more easy to understand and appreciate with a single viewing. Of course it is quite possible that like Resnais's past films, especially Je T'Aime, Je T'Aime, which were not appreciated at the time of their initial release, Allegro may well find its audience in the future.