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.
What are people saying?
What are critics saying?
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.
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.
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.