Variety by Guy Lodge

April is loath to explain itself, inviting us instead to watch, listen and feel our way through it — a work marked, like the benevolent but unreachable woman at its center, by immense empathy and isolated, inconsolable despair.

The Irish Times by Donald Clarke

We have a new cinematic poet in Kulumbegashvili, and she doesn’t care if the stanzas rhyme. Difficult. Abrasive. Worth persevering with.

The Seattle Times by Chase Hutchinson

Telling the story of an obstetrician working in a rural town in the country of Georgia who also performs abortions outside work, it’s a quiet wail in the darkness of the night, hurtling along with all the force of a lightning bolt.

IndieWire by David Ehrlich

In this remarkable and shudderingly unresolved film, blessings and despair tend to become one and the same, two limbs of a shared body that Nina’s patients aren’t allowed to control for themselves.

The Film Stage by Savina Petkova

Dea Kulumbegashvili has found a way to draw mystery from the literal instead of turning it into metaphor––April’s hypnotism is made possible because everything onscreen is what it looks like, but it is also something more. But never something else, as a metaphor or an allegory would suggest.

Screen Daily by Wendy Ide

April is a formidable, defiantly esoteric work. It demands considerable investment from the audience, but does repay it.

The Daily Beast by Nick Schager

An alternately (and sometimes simultaneously) harrowing and hallucinatory story of an OB-GYN who discovers that her every attempt at nurturing life leads only to more death.

The New Yorker by Justin Chang

Kulumbegashvili’s gaze is by turns coolly diagnostic and furiously exploratory, a dichotomy that manifests itself in the compositional extremes of Khachaturan’s cinematography.

Los Angeles Times by Tim Grierson

Not quite a thriller and not quite a horror movie, April is all the more haunting for never pinning down the roots of Nina’s retreat from life while dedicating herself to improving the lives of others.

The Associated Press by Jake Coyle

A prize-winner at last fall’s Venice Film Festival, “April” could be accused of leaning too much into an austere, art-film obliqueness. But Kulumbegashvili’s absolute control over the camera and the intensity of her calling make her film a grimly spellbinding and unforgettable experience.