New York Post by V.A. Musetto

A family getting evicted from its home is no laughing matter, except if you're watching Cirkus Columbia, a satiric comedy from, of all places, Bosnia and Herzegovina.

Slant Magazine by Diego Semerene

Its lightheartedness and overtly traditional narrative structure become a smart strategy for crafting what is ultimately a very nuanced political critique of capital.

Los Angeles Times

Despite its wobbly tone and stumbles into implausible melodrama, the film succeeds as a study of realignments among friends and family, a gently cracked mirror held up to the insanity that would soon devastate the region.

The Hollywood Reporter

Tanovic wisely returns to his Bosnia and Herzegovina roots, where the small but highly nuanced story, set in prewar 1991, rings with authenticity and weight.

The Hollywood Reporter by Deborah Young

Tanovic wisely returns to his Bosnia and Herzegovina roots, where the small but highly nuanced story, set in prewar 1991, rings with authenticity and weight.

Los Angeles Times by Sheri Linden

Despite its wobbly tone and stumbles into implausible melodrama, the film succeeds as a study of realignments among friends and family, a gently cracked mirror held up to the insanity that would soon devastate the region.

The A.V. Club by Sam Adams

Like its characters, who can't believe their stable nation could be threatened by ethnic unrest, Cirkus Columbia looks to the past, evoking the kind of unreal, vaguely politicized tales that were once the lifeblood of arthouse cinema.

Variety

Though burdened by major problems of tone, Tanovic's fourth feature succeeds in making clear the incredulity with which most people regarded the thought of war and dissolution of Yugoslavia, as well as the machinations of various opportunistic groups.

Time Out by David Fear

The tongue is in cheek and the tone is ironic and bleak, at least until the should-we-stay-or-should-we-go climax punctures the mood. Still, welcome back, Danis.

Variety by Alissa Simon

Though burdened by major problems of tone, Tanovic's fourth feature succeeds in making clear the incredulity with which most people regarded the thought of war and dissolution of Yugoslavia, as well as the machinations of various opportunistic groups.

The New York Times by Stephen Holden

Half of the time, the movie - based on a novel by Ivica Dikic, who collaborated with Mr. Tanovic on the screenplay - has the tone and pace of a farce. The other half, it plays like an unconvincing melodrama. The film assumes knowledge about the history and politics of the former Yugoslavia and the wars involved in its breakup that most Americans don't possess.

Village Voice

"No Man's Land" director Danis Tanovic, adapting a novel by Ivica Djikic, also returns to his roots with this decidedly old-fashioned, quasi-satirical drama that is a bit on the nose with its indictments of post-communist animosities and opportunism.

Village Voice by Aaron Hillis

"No Man's Land" director Danis Tanovic, adapting a novel by Ivica Djikic, also returns to his roots with this decidedly old-fashioned, quasi-satirical drama that is a bit on the nose with its indictments of post-communist animosities and opportunism.

New York Daily News by Joe Neumaier

Director Danis Tanovic never undersells the anger and tension in the family, yet while the emotional underpinnings feel raw, much of "Cirkus" also winds up spinning 'round to obvious, if uncomfortable, places.