Boston Globe by Ty Burr

The arrival of Raúl Ruiz’s final work, Night Across the Street, brings the total to four, an elegant, clear-eyed bridge game of artists playing their last trump cards.

Village Voice by Michelle Orange

Proof that Ruiz was still teeming with ideas himself, Night is a characteristic work of surreal wit and circuitousness—and the filmmaker's winking but mournful goodbye.

Time Out by David Fear

This surreal, sentimental journey does provide an excellent encapsulation of everything Ruiz did best: oddball takes on highbrow lit and lowbrow genre conventions, guided tours of characters’ mazelike memory banks, and a reveling in film culture that doubles as a cinephile’s wet dream.

Slant Magazine by Jaime N. Christley

It's a final film in the specific sense of Raúl Ruiz designing the larger part of it around a metaphorical contemplation of his own, imminent demise.

The New York Times by A.O. Scott

Unlike his precursors Georges Franju and Luis Buñuel, who reveled in the shock of incongruity, Mr. Ruiz took it in stride. His gliding, floating camera could make wild impossibilities look utterly natural. And so it is in Night Across the Street, where the present commingles with the past, and seeming is another way of being.

Variety by Justin Chang

The valedictory sentiments at the heart of this mysterious experiment are conveyed with characteristically wry wit and great generosity of spirit.

The Hollywood Reporter

A bizarre and baroque meditation on death, memory and the passage of time that ranks among the director’s more cryptic works (of which there are several in his whopping 100+ feature filmography), though it does offer up a few pleasurable moments.

The Hollywood Reporter by Jordan Mintzer

A bizarre and baroque meditation on death, memory and the passage of time that ranks among the director’s more cryptic works (of which there are several in his whopping 100+ feature filmography), though it does offer up a few pleasurable moments.