70
The New Yorker by Anthony Lane
Timbuktu is hard to grasp, as befits the sand-blown setting and the mythical status of the name. The more you try to define the movie, the faster it sifts away.
What are people saying?
What are critics saying?
100
The film's criticism isn't primarily rooted in satire, but rather in fury and condemnation for those who seek to be gods while shamefully feigning to follow and praise one god.
80
The Hollywood Reporter by Deborah Young
The film’s methods are boldly unorthodox and its constantly alternating moods and shifts in tone from drama to humor, joy to tragedy can be disconcerting. It’s not a film for all audiences, but despite its eccentricities it is always watchable, thanks to strongly drawn characters and the soul-stirring poetry of its imagery.
100
In the hands of a master, indignation and tragedy can be rendered with clarity yet subtlety, setting hysteria aside for deeper, more richly shaded tones. Abderrahmane Sissako is just such a master.
83
For all its value in bearing witness to the kind of atrocious acts that get but little attention on the world stage, this is not mere testimony, this is cleverly crafted and remarkably affecting storytelling.
80
Sissako's film is at turns funny, poetic and deeply moving.
80
The Guardian by Peter Bradshaw
Abderrahmane Sissako's passionate and visually beautiful film Timbuktu is a cry from the heart.
75
When it’s over, there’s nothing more to take from the film than the uneasy feeling that what we’ve seen is either intolerant and biased, or a warning. It’s not Islamophobic to fear the spread of this primitive oppression, be it in Syria or Nigeria.
80
Timbuktu’s delicate tone is totally unexpected and specific to Sissako, who keeps finding notes of vulnerability.
80
This is in no way the remorselessly grim film its subject matter might lead you to expect – it’s full of life, irony, poetry and bitter unfairness. It demands respect, but it also earns it.