40
An oblique, overlong film from French fashion designer Agnès B, whose arty flourishes and wooden dialogue are as intrusive as the blaring Vivaldi score.
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What are people saying?
What are critics saying?
30
The Hollywood Reporter by Boyd van Hoeij
The film contains numerous stylistic flourishes... But none of these elements advance the story, prompt a deeper emotional response or suggest something new about the characters, reducing them to meaningless window-dressing for what little story their is.
40
Time Out London by Cath Clarke
It aims for a loose, French New Wave style but settles for muddled and rambling. It’s tortured for all the wrong reasons.
33
The fashion mogul feels as if she’s learning bit by bit how to tell a story cinematically, how to complete transitions and flash back and forward, how to set a mood and tempo. It’s basically the rough cut of a student film which, to its credit, is also often more interesting than most student films outright.
40
The Guardian by Peter Bradshaw
It’s a strange, naive work, with something fundamentally misjudged about the drama, characterisation and casting.
50
Village Voice by Serena Donadoni
A hodgepodge of artistic gestures grafted onto a traditional narrative, neither fully linear nor experimental.
40
The New York Times by Stephen Holden
My Name Is Hmmm ... has its magical moments, but they are sabotaged by the director’s showy, ham-handed technique applied to a frustratingly threadbare screenplay that leaves you wanting more.
25
Slant Magazine by Tomas Hachard
The feeling here was perhaps intended to be impressionistic and elusive, but the result is instead rambling and unfocused.