Americano

The Hollywood Reporter by

The primary appeal of Americano lies in witnessing the attempt of a famous progeny to forge his own creative path, as Demy's struggle with artistic inheritance resonates throughout unmoored Martin's voyage between past and present.

The New York Times by A.O. Scott

Though not explicitly autobiographical, this film is deeply personal, and while the nature of cinema is very much on its mind, it rarely feels insular or self-conscious. Instead, it is wistful and nostalgic, and at the same time full of restless curiosity.

Time Out by David Fear

Becomes a clumsy gringo approximation of something else. In this case, it's the old respectable-man-obsessed-with-fallen-angel cliché, which Demy fils tweaks with broad melodramatic strokes and Freudian flotsam, as well as a complete lack of focus or storytelling chops.

New York Daily News by Joe Neumaier

Scenes of the director as a school-age boy in a Varda film are haunting, but end up simply sparking a desire to see Varda's work.

Village Voice by Melissa Anderson

Americano, which Demy also wrote and stars in, is an ambivalent, occasionally touching work of homage to his parents, yet one whose clumsiness only underscores the superiority of their directly quoted films.

The A.V. Club by Scott Tobias

Peel away the many layers of reference, and all that's left of Americano is the raw need of a lonely, confused young man who's distant from his family, awash in vague memories, and struggling to find himself. This is less a movie than a patient for pop psychologists.