RogerEbert.com by Godfrey Cheshire

What gives Socrates its special distinction are the precision and excellence exhibited in all major areas of its making, from direction, writing, editing and cinematography to the two standout performances by young actors that anchor its drama.

Film Threat by Alex Saveliev

With an authenticity rarely seen in contemporary cinema, it examines the lives of those that struggle to survive in ecosystems that function according to their own decrepit principles.

The New York Times by Jeannette Catsoulis

Socrates isn’t simply about being gay, or poor, or even devastatingly unloved: It’s about honoring a resilience that most of us will thankfully never have to summon.

CineVue

This movie is a slow-burning story of loss and solitude which is also resonant with humanity, dignity, and hope.

The Irish Times by Tara Brady

Moratto and Thanyá Montesso’s script is precise and minimal. Christian Malheiros and Tales Ordakji make for a wildly charismatic screen coupling.

Time Out

There is barely a second where Socrates is out of shot. A handheld style employed by cinematographer João Gabriel de Queiroz has the flavour of Cassavetes’s Faces, but makes it feel as though the character is being followed by a guerrilla news reporter, on hand to capture the next disaster.

Los Angeles Times by Carlos Aguilar

The writing by the director and co-scribe Thayná Mantesso is deft and pithy, and there’s a rawness of spirit in both the stellar central performance and the film’s social realist aesthetic.

The Hollywood Reporter by Frank Scheck

Socrates is a haunting slice of Brazilian neo-realism that marks its tyro director/co-screenwriter as a talent to watch.

Variety by Dennis Harvey

Malheiros’ terrific turn makes this protagonist credibly tough by necessity, and mature beyond his years. Ordakji is also excellent as the not-much-older new friend whose reluctance to be more helpful is, like other backstory elements here, only partly explained later on. Despite the film’s raw realist air, these two actors aren’t amateur discoveries, but rather theater studies graduates making their screen debuts — at no doubt the beginning of long careers.

CineVue by Thomas Alexander

This movie is a slow-burning story of loss and solitude which is also resonant with humanity, dignity, and hope.

Time Out by Katie McCabe

There is barely a second where Socrates is out of shot. A handheld style employed by cinematographer João Gabriel de Queiroz has the flavour of Cassavetes’s Faces, but makes it feel as though the character is being followed by a guerrilla news reporter, on hand to capture the next disaster.

The Guardian by Peter Bradshaw

Running at just 71 minutes, Socrates left me wondering if it was slightly underdeveloped as a feature project. But plenty of glossier and more finished films don’t have its beating compassionate heart.