Luigi Zampa’s Cuori senza frontiere shows us an area of Venezia Giulia and revives an episode of the sad consequences of the war that still lie heavy on this region. To place a hand on an open wound is always a risky gesture. Zampa’s major merit consists in having treated such a burning issue without excessive violent reactions. (…) It is the story of a little village in Venezia Giulia divided in half by an absurd borderline. Various incidents intersect in the action: the naïve and instinctive fraternity of a group of children, the tragedy of a family forced to renounce either their house or their field, and the sentimental drama of a girl wooed by two suitors of opposite political tendencies. The film lacks the spine of a strong and unified force of inspiration; instead it works through fragmentary flickers of human intuition. The result is a succession of ups-and-downs which demands from the spectator a degree of understanding adjustment.

Ezio Colombo, “Prime visioni,” Bis (no. 42, 21 October 1950)