Los Angeles Times by Gary Goldstein

A dreamy, compelling, often wry look at a writer.

Variety by Jay Weissberg

It’s easy to simply be mesmerized by German’s exceptional talent for stage blocking and camera movements, yet while there’s much here to appreciate, the film lacks the power of “Under Electric Clouds” despite being his most emotionally approachable work to date.

Screen International by Jonathan Romney

This slow-burning, pensively drifting evocation of the times of Sergei Dovlatov is not a conventional portrait, still less a biopic, but an imaginatively realistic recreation of a bygone era of Russian culture.

The Hollywood Reporter by Deborah Young

[A] forceful presentation of an ever-timely topic.

Screen Daily by Jonathan Romney

This slow-burning, pensively drifting evocation of the times of Sergei Dovlatov is not a conventional portrait, still less a biopic, but an imaginatively realistic recreation of a bygone era of Russian culture.

The Film Stage

German uses this six-day window to evoke a specific time and place, and through that specificity, he creates a satisfying ode to the struggle and resilience of creating art.

The Film Stage by C.J. Prince

German uses this six-day window to evoke a specific time and place, and through that specificity, he creates a satisfying ode to the struggle and resilience of creating art.

Slant Magazine by Keith Watson

According tot he film, truly courageous artists aren't necessarily the ones who tackle the state head-on, but rather the ones who stay true to themselves even when no one likes what they have to say.

CineVue by Patrick Gamble

No doubt many will find German’s approach pretentious and overly repetitive.

RogerEbert.com by Tomris Laffly

With its script (co-written by German and Yulia Tupikina) that lacks the traditional structure of a three-part act, Dovlatov managed to evoke in me an overall feeling of internment. Along with it crept in a gloomy mood, gradually formed through the collective frustrations of the time’s hampered dwellers.