Reviews

Anaïs Mitchell's Tony Award-winning musical Hadestown reimagines ancient Greek myths through a soulful fusion of folk, jazz and New Orleans storytelling, where love, fate and doubt collide.

… a viscerally distressing work…

The film shows the darkest side of humanity but, in Fraser, we also see its best.

The film’s slow pace is central to its achievement ...

… an angry, funny and surprisingly sharp film about ownership, identity, womanhood and the uncomfortable business of deciding what other people need.

... will thrill the small group of hardcore fans who already love it and leave everyone else profoundly bewildertained.

… these sorts of docos actually tend to work best when their format is formulaic and unadventurous, and that’s the case here.

Marre constructs the film out of light, almost weightless moments that repeatedly collide with the dead end of history.

… ironic, politically alert and suspicious of every supposedly progressive position.

… fitfully entertaining …

… amiable enough …

… a fascinating cinematic experiment as much about the flexibility of spoken language as it is about the nuances of film language.

… nostalgic, hopeful and occasionally unsettling …

Its images can be beautiful, uncanny or disturbing, but that beauty often feels slightly suspicious.

... an enjoyably relatable portrait of a man thriving on his own terms.

… a striking, original and utterly compelling game …

… even more horrifying than you might expect from its subject matter.

… technically polished to an impressive degree, but the specific words, delivery, and ultimate thesis meant to give substance to the style is disappointingly lacking …

... real, intimate and irreversible.

…a singularly odd trilogy that manages to resonate over two and a half decades later.