Film Threat by Michael Talbot-Haynes

Medusa is an electrifying work of art that elevates its already elevated pop influences, a transcendental tableau of the true-life horror of female oppression.

RogerEbert.com by Marya E. Gates

Eliciting powerful performances from her two leads and striking visuals from cinematographer João Atala, “Medusa” casts its gaze at the hypocritical and violent world of purity culture with unflinching honesty that will leave the audience spellbound long after the credits roll.

The Irish Times by Tara Brady

The oppressively neon musical numbers and ominous pastoral pronouncements that “secular government was a mistake” are more convincing than the film’s late swerve into Giallo terrain. But the writer-director’s ideas about women as religious enforcers, complicit in their own subjugation, are fascinating.

The Observer (UK) by Mark Kermode

For all its multitudinous reference points, this remains very much Da Silveira’s movie – as distinct and pointed as Ana Lily Amirpour’s A Girl Walks Home Alone at Night or Julia Ducournau’s Raw­ – a genre film with something to say, and a unique voice with which to say it.

IndieWire

Da Silviera’s vision of bubblegum fascism is compelling, and Medusa sucks viewers in right away. Unfortunately, however, the film expends far more effort on aesthetics and world-building than it does on narrative.

The Film Stage by Jared Mobarak

There’s plenty to like here: gorgeous cinematography—there’s an unforgettable shot during a power outage at the coma facility, where the generator attempts to flicker the small, rectangular lights along the walls of the main, symmetrical room—propulsive synth beats to go with the choir, and stellar performances that at some point all skew towards parody to really drive home the indoctrination angle before each awakening opens eyes to the truth.

IndieWire by Katie Rife

Da Silviera’s vision of bubblegum fascism is compelling, and Medusa sucks viewers in right away. Unfortunately, however, the film expends far more effort on aesthetics and world-building than it does on narrative.

TheWrap by Elizabeth Weitzman

Though the religious component is written broadly, the impact is hardly more surreal than many elements of 21st-century reality.

Paste Magazine by Natalia Keogan

The film acts as a giallo thriller, a modern update to Lizzie Borden’s Born in Flames and the latest entry in Brazil’s anti-Bolsonaro fantasy canon. Yet for all of these fascinating themes and well-executed nods, Medusa still feels narratively slight.

Screen Daily by Demetrios Matheou

Da Silveira sets a tone that nimbly flows between comedy, mystery and discomforting satire (the Pastor generally makes the skin crawl), though her occasional wink towards horror offers fun rather than frights, to the film’s detriment.

The New York Times by Beatrice Loayza

Though dressed in shock-value clothing, Medusa is also a straightforward character study, tackling issues like the scourge of Western beauty standards and the difficulties of leaving an abusive relationship along the way

Variety by Dennis Harvey

The audacity of de Silveira’s concept — in which enrollees at an upscale Christian college indulge in secret, moralizing vigilante mayhem — and her deliberately over-the-top aesthetic render Medusa a compelling mixed bag. It may miss the bull’s-eye, but not for lack of intriguing ideas or style.

Austin Chronicle by Jenny Nulf

What begins as a punchy, feminine-biting satire becomes fuzzy after the first act. It’s an admirable effort, but an overstuffed, demanding one as well.