Critic Reviews

74

Metascore

Based on 18 critic reviews provided by Metacritic.com
100
Rare is the profile that captures so much oddness with so little judgment. You owe yourself a chance to be challenged.
91
We're given an intimate seat to this wildly democratic - and creepily messianic - spectacle.
88
The second half offers shot after shot of the people who sat opposite Abramovi - an unexpectedly enthralling record of reactions that range from stark agony to rather phony amusement.
83
The documentary seems a little structureless and unfocused at times, as Akers moves from dramatic moment to dramatic moment, not always taking care to connect them.
80
An elegantly observed, sleekly packaged look at an artist whose career-long balance of enigma and self-exposure culminated in a 2010 retrospective at New York City's Museum of Modern Art.
80
A little pretentious maybe, but then you've got to wonder at a woman who could sit motionless in a wooden chair, eight hours a day for three months.
75
Abramovic is a sensationally attractive narcissist and the filmmakers are clearly smitten with her, but the film goes a long way to establish the intellectual seriousness and dedication involved in her ambitious series of art stunts.
75
The oddest moment in this riveting documentary comes when Marina Abramovic, the performance artist, meets David Blaine, the illusionist.
70
An intelligent overview that makes a radical artist's work comprehensible to audiences with no previous awareness of her or her chosen path.
67
The filmmaker's first-rate access feels like a kind of desecration.
63
As entertaining as the documentary is, it never really measures up to the fascination and sheer force of personality of its subject.
60
Matthew Akers' film is a personally revealing look at an artist most famous for maintaining stone-faced silence for three months.
60
This trip through the seminal performance artist's (often literal) body of work is sometimes too cozy, yet Abramovic might argue that objectivity is impossible if truth is the destination.
60
She's trying to access a shared humanity, to foster an unusual intimacy with viewers - to strip herself, often literally, to a naked and undeniable truth.
60
The New York Times
Like many other recent documentaries about artists, it is more celebratory than analytical, a kind of slick, extended promotional video for its subject.

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