Jessica Hausner confidently expresses a thorny and disturbing theme, though perhaps with too much confidence.
One may feel mildly insulted by the presumptuous attitude the film seems to choose as it sends us on our way.
James Marsh perfectly matches his aesthetic strategies to the story’s shifting moral terrain.
The film is a disappointment, but it happens to be one of the more invigorating disappointments of the past year.
With shrewd wit, John Michael McDonagh’s script proceeds to self-reflexively address the very conventions it’s employing.