70
While it is gratifying to hear each woman speak on her art in her own terms, the documentary’s most illuminating moments are those that demonstrate how each musician’s work has been received by others over the years.
What are people saying?
What are critics saying?
100
RogerEbert.com by Charlie Brigden
The narrative, which is wonderfully told through a kind of archival collage that, along with the futuristic soundtrack of the profiled composers, makes it feel like an avant-garde art film.
70
The New York Times by Glenn Kenny
This film is informative and often fascinating.
80
Wall Street Journal by John Anderson
That the film is online because of the Covid-19 pandemic might be considered a silver lining: Not only will more people be able to see it, but they can, and should, experience it through headphones. A big screen would be nice, too, given Ms. Rovner’s hallucinogenic way with pictures. But the sound, as she would probably agree, is paramount.
90
Los Angeles Times by Katie Walsh
The film is a vital historical corrective, inscribing the names of these women into history as the innovators, independent thinkers and trailblazers they were.
100
The Guardian by Leslie Felperin
Lisa Rovner’s superb documentary pays a deeply deserved, seldom-expressed tribute to the female composers, musicians and inventors from the brief history of electronic music.
80
There’s nary a dull moment – nor a dull character – in this gripping history.
80
The Observer (UK) by Wendy Ide
What a joy is a documentary that neither talks down to its audience nor diminishes its subject.
75
Much of the film’s power comes from a series of deft, often wry juxtapositions between video and audio.