The barest hooks of a narrative are here but stitched together with a lot of energy and stylish flourishes from cinematographer Benjamin Rufi.

~ Amber Wilkinson -

The barest hooks of a narrative are here but stitched together with a lot of energy and stylish flourishes from cinematographer Benjamin Rufi.

~ Amber Wilkinson -

Lee is inventive in his shooting - particularly in his use of an aerial camera above the stage and another that lurks at the back at barefoot level, both capturing elements of the performance that an audience on the night would not be able to see.

~ Amber Wilkinson -

The barest hooks of a narrative are here but stitched together with a lot of energy and stylish flourishes from cinematographer Benjamin Rufi.

~ Amber Wilkinson -

Filled with humanism and raw emotion, the film builds as the double portrait that its title suggests, with Ree and his editor Robert Stengård employing a flexible structure that sometimes shifts backwards in time so that our perspective is also being cons

~ Amber Wilkinson -

Filled with humanism and raw emotion, the film builds as the double portrait that its title suggests, with Ree and his editor Robert Stengård employing a flexible structure that sometimes shifts backwards in time so that our perspective is also being cons

~ Amber Wilkinson -

We are given time, which is wonderful, to count and study the painted ceiling fans and observe the hand-movements of the attentive music listeners.

~ Anne-Katrin Titze -

We are given time, which is wonderful, to count and study the painted ceiling fans and observe the hand-movements of the attentive music listeners.

~ Anne-Katrin Titze -

Lee is inventive in his shooting - particularly in his use of an aerial camera above the stage and another that lurks at the back at barefoot level, both capturing elements of the performance that an audience on the night would not be able to see.

~ Amber Wilkinson -

Lee is inventive in his shooting - particularly in his use of an aerial camera above the stage and another that lurks at the back at barefoot level, both capturing elements of the performance that an audience on the night would not be able to see.

~ Amber Wilkinson -

Filled with humanism and raw emotion, the film builds as the double portrait that its title suggests, with Ree and his editor Robert Stengård employing a flexible structure that sometimes shifts backwards in time so that our perspective is also being cons

~ Amber Wilkinson -

We are given time, which is wonderful, to count and study the painted ceiling fans and observe the hand-movements of the attentive music listeners.

~ Anne-Katrin Titze -