Salon by Andrew O'Hehir
What emerges is an astonishing debut, unlike anything else you'll see this year.
User Rating
Director
Delphine Gleize
Cast
Chiara Mastroianni,
Ángela Molina,
Lio,
Esther Gorintin,
Maryline Even,
Clovis Cornillac,
Jacques Gamblin,
Féodor Atkine,
Bernard Sens,
Pascal Bongard
Genre
Drama
After a bull is killed in a bullfight, its body parts are transported across Spain, France, Italy and Belgium. The bull's parts fall into the wide variety of people, including: an Italian actress selling the bones in a supermarket promotion, a Spanish woman who dines on its steaks, a little girl in France who imagines a world where animals are much larger than humans, and a taxidermist whose wife is simultaneously giving birth to quintuplets.
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Salon by Andrew O'Hehir
What emerges is an astonishing debut, unlike anything else you'll see this year.
Premiere by Aaron Hillis
A truly remarkable and compassionate debut from a savvy, self-confident filmmaker. No bull.
New York Daily News by Jami Bernard
An amazingly self-assured movie, it percolates with themes and ideas, all held together by the gift of the bull's parts.
The New York Times by Dana Stevens
Ms. Gleize, through a series of oblique, half-comic scenes and meticulous, rhyming visual compositions, offers up an elegant, discursive essay on carnality and carnivorousness -- on sex, death, meat and the ravening hunger for companionship.
Christian Science Monitor by David Sterritt
Funny, sad, and tinged with magic realism, this ambitious comedy-drama is as original as it is nimbly directed.
TV Guide Magazine by Ken Fox
The film becomes a complex tissue of intersecting lives, but Gleize handles each developing story with amazing ease, and the fabulist touches are the icing on a very tasty cake.
Village Voice by Michael Atkinson
Dead flesh is a ruling motif, but Gleize's airy, observant personality makes even the graphic dismemberment of the bull, scored with flamenco stomps, buoyant and fascinating.
The A.V. Club by Noel Murray
Gleize establishes her multiple plotlines fairly cleanly, though once disentangled, the individual stories don't offer enough incident to be meaningful. They don't mean that much all put together, either, but Carnage is still highly watchable, thanks to Gleize's keen eye.
The Hollywood Reporter
The episodes are uninteresting and the characters one-dimensional. Unlike the multicharacter tapestries of such filmmakers as Robert Altman and Paul Thomas Anderson, the pretentious whole here is ultimately less than the sum of the parts.
Variety by David Rooney
Audience patience undergoes a far more brutal butchering than anything onscreen in Delphine Gleize's wildly over-reaching feature debut, Carnage.
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