Film Threat by Lorry Kikta

Anyone who likes gothic horror and science fiction will appreciate what Kelsey Egan and Emma Lungiswa De Wet offer. They create a beautiful and horrible world in which you cant help bet get lost. As I said before, it is my favorite film of the year so far, so if that carries any weight with you, seek this gem out.

The Guardian by Leslie Felperin

This tense dystopian horror-thriller feels geographically non-specific, almost as if it were taking place in some kind of dream world. That touch of hazy vagueness is just right for SA director and co-writer Kelsey Egan’s cracking feature debut (co-written with Emma Lungiswa De Wet).

Original-Cin by Thom Ernst

I'm all for the drama. Unfortunately, the drama in Glasshouse comes as an intrusion on the promise of a different story—a better story camouflaged behind the one being told.

Screen Rant by Graeme Guttmann

The sense of timelessness and the sanctuary (itself a bubble made to burst) add a listlessness to the film that only underscores the constant shifting of the family's foundation. Glasshouse may build to a climax that many can see coming, but that's beside the point. The conclusion plays off what has come before it, feeling like a memory that could have easily been forgotten.

Los Angeles Times by Noel Murray

Glasshouse holds back a few provocative secrets for its final third; and throughout, Egan borrows from the likes of “The Beguiled” and leans into the sensuality of her premise, in which a handful of lonely ladies are suddenly delivered a handsome stranger.