MTV News by Amy Nicholson

Ducournau has made a beautiful film about terrible horrors.

Rolling Stone by David Fear

If "Get Out" reminds folks that you can smuggle intelligent social commentary and timely conversation-starters in to theaters via explosive genre packages, then Ducournau's feature debut doubles down on the notion. In terms of the female-body politic, it's an art-horror dirty bomb.

The Playlist

Although the film is rooted in arthouse film territory, and is particularly inspired by the films of David Cronenberg and David Lynch, Raw turns out to be its own wild animal.

The Playlist by Jordan Ruimy

Although the film is rooted in arthouse film territory, and is particularly inspired by the films of David Cronenberg and David Lynch, Raw turns out to be its own wild animal.

The A.V. Club by Katie Rife

The film gained an unfortunate reputation as a gross-out cannibal shocker on the festival circuit, and while that categorization is not entirely, technically incorrect — this is a piece of body horror, and an intensely visceral one — it detracts from the striking imagery and layered symbolism of Ducournau’s uncommonly assured debut feature.

Consequence by Dominick Suzanne-Mayer

If Raw is hardly subtle in its depiction of burgeoning womanhood, from the social to the sexual, Ducournau delivers the film’s parable with a candor that suits it perfectly.

Screen Daily by Jonathan Romney

The young cast, from the newbie leads to an army of go-for-it extras, are terrific, and Marillier is something else – ferociously expressive in a performance that’s no-holds-barred on every front.

We Got This Covered by David James

It’s a wonderfully bizarre movie set in a world that at first glance might be our own, yet quickly slides off the rails into gonzo territory.

ScreenCrush by Britt Hayes

To say that Ducournau’s cinematic introduction is assured would be an understatement; it’s a shrewd, insightful, and surprisingly funny film that feels like the work of a more accomplished filmmaker who has refined their talents over the course of many films and years.

Variety by Catherine Bray

Raw is a deliciously fevered stew of nightmare fuel that hangs together with a breezily confident sense of superior craft.

Screen International by Jonathan Romney

The young cast, from the newbie leads to an army of go-for-it extras, are terrific, and Marillier is something else – ferociously expressive in a performance that’s no-holds-barred on every front.

The Hollywood Reporter by Jordan Mintzer

It’s rare to see such confidence in a first feature, yet Ducournau seems to know where she’s going at all times, keeping the narrative lean and mean while utilizing an array of stylistic techniques – slow-motion, sequence shots and tons of on-screen prosthetics – that never let up until the witty, and inevitably grisly, final scene.

Slant Magazine by Chuck Bowen

Throughout Raw, Julia Ducournau exhibits a clinical pitilessness that’s reminiscent of the body-horror films of David Cronenberg.

New York Magazine (Vulture) by Emily Yoshida

Raw is certainly nasty, but its gore is strategic and sparse. It is, however, a very stressful film to watch from beginning to end, even before the real feasting gets underway.

The New Yorker by Anthony Lane

The curious thing is that, as with many big-budget horror flicks, this small French-Belgian movie feels too pleased with its own outrage; the grosser it grows, the less interesting it becomes. When the carnage was over, I went out and had a steak.

The Film Stage by Ethan Vestby

Not managing to be as icky as it wants to be, Raw makes one long for the days of exploitation films that compensate for the lack of technical craft with pure, idiotic chutzpah.