The Challenge

The New York Times by A.O. Scott

Shot in rich, wide-screen color, with minimal camera movements (except when a small camera is attached to a falcon’s restless head) and almost no dialogue, it is detached almost to the point of abstraction.

The Film Stage by Daniel Schindel

With this raw animal rush, you can understand the appeal of the sport, and how one might deign to spend part of a fortune on vicariously experiencing it. But it also demonstrates the ultimate hollowness of extreme consumption.

Variety by Dennis Harvey

Loathe to mar his exquisite package with the least hint of vulgar commentary, Ancarani arrives at something that is at once luxuriously alluring and a little too like an advertisement for luxury products — dazzling, aloof, uncritical and fatuous.

Slant Magazine by Diego Semerene

Here the organic and the frivolously material aren't oppositions or rivals, but partners in a spectacle for men's eyes only.

Screen International by Fionnuala Halligan

Italian artist Yuri Ancarani’s mostly-silent travelogue captures the Arabian peninsula without comment, its repetitive, dreamy imagery providing an insight to an age-old sport which plays out within the trappings of extreme wealth.

Paste Magazine by Kenji Fujishima

With its impeccably framed wide compositions, immersive long takes, and a cross-cutting narrative style that touches on the work of Matthew Barney—or, in a considerably more mainstream vein, Christopher Nolan—The Challenge feels like avant-garde art more than anything else.

Los Angeles Times by Noel Murray

This movie is more like a gallery exhibition of moving portraits — each more astonishing than the last.