88
RogerEbert.com by Matt Fagerholm
Rather than massage the ego of its progressive target audience, this film stares back at us with a piercingly critical gaze.
Epicentro
User Rating
Cuba is well known as a so-called time capsule. The place where the New World was discovered has become both a romantic vision and a warning. With ongoing global cultural and financial upheavals, large parts of the world could face a similar kind of existence.
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What are critics saying?
80
The Hollywood Reporter by Leslie Felperin
In another filmmaker's hands, this might have become a message-heavy morass, but Sauper and his co-editor, veteran Yves Deschamps (Bruno Dumont's The Life of Jesus, the 2018 restoration of Orson Welles' The Other Side of the Wind) work the material with a remarkable fluidity and gracefulness that's consistently engaging and surprising.
75
The Film Stage by Matt Cipolla
For such a wide swirl of contradictions, Epicentro largely pays off.
75
Slant Magazine by Chris Barsanti
It alternates political ponderings with a loose and discursive subtext in which Hubert Sauper explores the idea of Cuba as an island paradise.
75
Movie Nation by Roger Moore
Epicentro is a lovely new tone poem to Cuba, as it is now, the Cuba behind the propaganda from within and without.
74
Paste Magazine
Epicentro depicts Cuba as a land that has long battled imposed polarities akin to that false Renaissance dichotomy: barbarous and noble—utopian and dystopian, scenic and impoverished. Intimate images in an age of transition: Sauper finds a view of modern Cuba between the contradictions history has forced onto it.
70
The New York Times by Ben Kenigsberg
Whether Sauper’s travels delivered a cohesive movie this time is debatable, but what he does find is always interesting.
70
Screen Daily by Allan Hunter
It is the resilience of individuals that seems to reflect a melancholy Cuba acutely aware of its past but curious about its future. There are times when Epicentro seems to lack focus but no matter where it roams, it always returns to its central concerns of colonisation, mythmaking and the way the true spirit of Cuba resides in its people.
50
Variety by Dennis Harvey
It’s a fascinating moment for cultural stock-taking. Yet despite the filmmaker’s evident fondness for the people and nation, this impressionistic feature feels frustratingly obtuse, unfocused and unstructured.
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