The Playlist by Jessica Kiang

It is slow and it is ambiguous but it is supremely sure of itself, as it moves, with singleminded grace from chilly to all-out chilling.

Variety by Ben Kenigsberg

Casting Cassel as a ruthless villain might seem like a cliche, but Kleiman uses him counterintuitively, locating an avuncular, calming quality in the actor.

Slant Magazine by Chuck Bowen

Ariel Kleiman fashions an erotic atmosphere of dusty sensuality that complicates our judgement of this world, but he takes shortcuts.

Village Voice by Nick Schager

Cassel is never less than transfixing as a savior with a semi-sinister smile, but Partisan's lack of interest in providing necessary context — especially about the ill-defined larger society that Gregori rejects — leaves it operating on a hazy psychological level.

The Guardian

You’re never sure what the characters are capable of achieving and the bottled-up energy that comes out of that feeling runs throughout.

The Guardian by Luke Buckmaster

You’re never sure what the characters are capable of achieving and the bottled-up energy that comes out of that feeling runs throughout.

CineVue by Ben Nicholson

A deliberate almost-thriller that provokes many questions, but leaves answers equivocally out of focus right through to its conclusion.

The A.V. Club by Mike D'Angelo

That sense of mystery definitely keeps Partisan intriguing, though it also creates expectations that Kleiman, who co-wrote the screenplay with Sarah Cyngler, isn’t especially interested in fulfilling.

RogerEbert.com by Susan Wloszczyna

Partisan, Cassel’s latest movie that smartly keeps his innate menace on a slow, low simmer, isn’t nearly as convincing or compelling as its star.

The Hollywood Reporter by David Rooney

While the systematic corruption of innocents under an outwardly benevolent protector makes for a disturbing scenario, Australian newcomer Ariel Kleiman dulls the unease with his studiedly enigmatic approach.

Los Angeles Times by Martin Tsai

It's hard to tell if director and co-writer Ariel Kleiman is being serious or sarcastic with a story this preposterous.

The New York Times by Helen T. Verongos

The screenwriters, Ariel Kleiman (who is also the director) and Sarah Cyngler, have cut their story loose from any real significance, leaving us with Gregori, who has no discernible political views and no unifying beliefs, even delusional ones.