Critic Reviews



Based on 13 critic reviews provided by Metacritic.com
With its persistent inventiveness and a lack of unearned sentimentality, the movie provides an antidote to a lot of lazily produced dramas about death, American or otherwise.
A boldly conceived assemblage of diverse and seemingly random fictional materials, Athina Rachel Tsangari's Attenberg is concerned with nothing less than those hardy perennials: sex, death, and modernity. And coming of age a little too late.
Tsangari proves she's one of the freshest voices in European cinema with this offbeat character piece.
Attenberg shares with the Oscar-nominated "Dogtooth" a weakness for overgrown innocence and deadpan perversity.
What a strange, moving, puzzling, funny, frustrating and ultimately absorbing film this is.
The film is much enhanced by the performance of Labed, whose work capturing Marina's moods and contradictions won the best actress award at the 67th Venice Film Festival.
A Greek film with style and verve, writer-director Athina Rachel Tsangari's second feature, Attenberg, is an offbeat coming-of-age tale.
Village Voice
While Tsangari may have borrowed Attenborough's "British phlegmatic tenderness," as she calls it, Attenberg is worlds away from a nature documentary.
The New York Times
The emotions are quiet, and the connections among the characters feel tentative and fragile. Though it makes no reference to the current economic and political crisis in Greece, Attenberg is suffused with a sense of malaise - of stasis, if you prefer a Greek word - that way well reflect the contemporary national mood.
From the gangly awkwardness of its opening scene - a pleasure-free lesson in kissing - it's clear that Attenberg aims to provoke. Its bored young characters and flat-affect performances recall another innovative Greek drama, "Dogtooth."

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