Cosmos

The Film Stage by

A filmmaker who values the power of shock, but not necessarily thrills for thrills’ sake, ?u?awski elucidates material with tools that announce themselves in their presentation — surprising camera dollies, fast pans, sudden cuts, overly prominent music cues — and raise complex questions about their relation to one another.

The New York Times by A.O. Scott

It is possible to appreciate Mr. Zulawski’s perverse ingenuity, and to miss his eye and voice, without quite succumbing to the strenuous charms and overcooked provocations of Cosmos.

Village Voice by Alan Scherstuhl

Everyone's reeling from dreads and reveries they can't quite comprehend, and Zulawski's daft incidents, comic sketches, and stabs of profundity will likely put you into a similar awed stupor.

Screen International by Allan Hunter

There is a real sense of poignancy and heartache in random scenes with Azema or Balmer and even if the film deliberately eschews easy comprehension it remains involving and intriguing enough to keep the viewer on board.

IndieWire by Eric Kohn

It’s often hilarious, confounding and downright strange; if not the director’s most polished work, it nevertheless delivers a demented philosophical puzzle that’s fun to scrutinize in all of its baffling uncertainties.

New York Post by Farran Smith Nehme

This loopy absurdist comedy is the final work of Andrzej Zulawski, the famed Polish filmmaker who died in February.

The A.V. Club by Ignatiy Vishnevetsky

Made 15 years after ?u?awski’s last film, Cosmos makes for a fittingly offbeat and mystifying statement of purpose for a filmmaker fascinated by confrontations with the cosmic unknown.

Slant Magazine by Jesse Cataldo

Andrzej Zulawski's film experiment ranks somewhere between captivatingly off the wall and utterly exhausting.

The Hollywood Reporter by Neil Young

With all farces, timing and rhythms are absolutely crucial and Zulawski — working with editor Julia Gregory — maintains a disarming brio from the very first seconds.

Variety by Peter Debruge

Zulawski maintains such expert control of the film’s look and tone that there can be no question that each choice has been deliberate, whatever the significance.