The End of Time

Village Voice by Calum Marsh

The awe incited by the world is enough — no pontificating necessary, man.

Time Out by Eric Hynes

From the sun’s surface to the deep earth, Hawaiian volcanoes to Detroit’s decay, Mettler explores the different ways that we experience and define time, using his own documentary as a mind-bending demonstration of its mutability.

Variety by Jay Weissberg

Intermittently interesting but more often pretentious, this sluggish exploration of time as real and conceived concepts rarely does more than regurgitate philosophical platitudes without locating the depth to make them interesting.

The New York Times by Miriam Bale

[Mr. Mettler’s] images of galaxies, mandalas, particle accelerators and glowing red lava become his real subjects. He uses music and sound to control the pace, to slow time, as if cinema were a form of enforced meditation.

The Dissolve by Noel Murray

Mettler is in no hurry to get to any particular point in The End Of Time. The film leaps from subject to subject—slowly, and somewhat haphazardly.

The Hollywood Reporter by Stephen Dalton

Any sense of narrative momentum or intellectual focus quickly unravels as the film evolves into an almost wordless symphony of disconnected images, sounds and music. But the nature-heavy montages are mostly beautiful and bizarre enough to excuse the film’s pretentious excesses.