The Hollywood Reporter by Sheri Linden

Through its droll combo of stillness and churning dysfunction, perfectly embodied by Drakopoulos, Pity deconstructs the artifice of feeling and, most wickedly, movie sentimentality.

TheWrap by Sam Fragoso

Miraculously, Makridis doesn’t undercut the seriousness of Giannis’ plight with humor. The laughs derive naturally from Drakopoulos’ pitch-black performance.

Screen International by Wendy Ide

Pity, which Makridis co-wrote with Yorgos Lanthimos’ regular collaborator Efthimis Filippou (Dogtooth, The Lobster), strikes a tonal balance between ruthless and wry, which positions it comfortably alongside the best of Greece’s current new wave.

Screen Daily by Wendy Ide

Pity, which Makridis co-wrote with Yorgos Lanthimos’ regular collaborator Efthimis Filippou (Dogtooth, The Lobster), strikes a tonal balance between ruthless and wry, which positions it comfortably alongside the best of Greece’s current new wave.

Variety by Guy Lodge

If Pity doesn’t quite have the shock of the new on its side, then, its sharpest passages nonetheless exert the bracing, mouth-shuddering tang of neat ouzo: You know how it’s going to taste, but it leaves you wincing anyway.

The Playlist by Andrew Crump

The film has an identity problem. It’s uncertain what it wants to be. This is too damn bad because its first mode, a parody of male self-obsession, is perfectly satisfying; the comedy makes us shift in our seats, but the shifting is pleasurable, complemented by well-timed gags and a mesmerizingly selfish performance from its leading man, Yannis Drakopoulos.