RogerEbert.com by Matt Zoller Seitz

Trocker is deft at creating situations that go right up to the edge of blatant symbolism or metaphor, bit resist the urge to pitch themselves over the brink and become blatant and simplistic.

Slant Magazine by Wes Greene

Despite the mystery of the home invasion becoming increasingly tangential, Human Factors remains a compelling puzzle-box.

Screen Daily by Jonathan Romney

This deviously constructed puzzle film plays cat and mouse (or to be exact, pet rat) with the viewer, yields subtly disconcerting insights into the fault lines of bourgeois life, and features terrific lead performances from Sabine Timoteo and Mark Waschke.

Film Threat by Alex Saveliev

A bit too somber and detached for its own good, Human Factors nevertheless marks another strong entry from a filmmaker who – after several shorts, a documentary, and one other feature – is just getting started.

Los Angeles Times by Noel Murray

Trocker’s insights into a family crumbling due to a lack of trust aren’t all that fresh or keen, but his movie is tense and absorbing regardless, because he and his cast excel at dramatizing the lingering resentments and passive-aggression that foul the air between loved ones.

CineVue by Matthew Anderson

A challenging and very well considered inspection of familial disintegration, featuring strong performances, Human Factors is a solid entry in the Sundance World Cinema Dramatic Competition.

The Playlist by Christian Gallichio

While Trocker attempts to connect the form to the content of the film, he gets lost in his formalist conceits, never creating fully realized characters to hold the weight of his structural choices.

The Film Stage

The well-directed sophomore narrative feature ultimately loses itself, placing more importance on its central theme of interpersonal interactions while firmly rejecting a more fleshed-out, compelling story.

The Film Stage by Diego Andaluz

The well-directed sophomore narrative feature ultimately loses itself, placing more importance on its central theme of interpersonal interactions while firmly rejecting a more fleshed-out, compelling story.

The New York Times by Amy Nicholson

The tone is too rigidly intellectual for the movie to succeed as a tense thriller. But the actors are up to the challenge of not so much sharing scenes as coexisting within them, particularly Timoteo as the embittered wife who roils like a teakettle that has been welded shut.

IndieWire by David Ehrlich

Trocker’s second feature (following 2016’s “The Eremites”) never quite manages to make good on its gamesmanship and only allows itself to have any fun once it’s sure that nobody else is.