75
In performance and rehearsal clips, Heymann’s saturated cinematography captures the raw physicality and emotion of Naharin’s work, and the way he cajoles, demeans and seduces his dancers.
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What are people saying?
What are critics saying?
70
The result here may not be fully revealing of his process, but it’s as close as we’re going to get.
70
The Hollywood Reporter by Frank Scheck
A fascinating if uneven portrait.
50
The New York Times by Glenn Kenny
A more finely focused treatment would have made a much better summation of, or introduction to, Mr. Naharin’s work.
83
The dancing alone is worth the price of admission, and Naharin is a dynamic if somewhat aloof subject.
80
Los Angeles Times by Kenneth Turan
If you are familiar with his mesmerizing work, nothing more need be said; if you’re not, this feast of dance illustrates why others are.
75
Slowly it emerges that Gaga is Naharin’s “dance language,” a way of expressing one’s inner being through external movement. Gaga is dada — for dancers.
88
RogerEbert.com by Sheila O'Malley
Mr. Gaga is an intense pleasure: the extensive footage of Naharin's choreography in performances over the years, beautifully captured by Ital Rziel, gives an intimate and thrilling glimpse of what he is all about. Naharin's work is distinct.
50
Writer/director Tomer Heymann's uneven doc Mr. Gaga offers a character study of Israeli dance choreographer Ohad Naharin, but the scope and power of Naharin's art only becomes clear when the dancers illustrate rather than comment on his distinctively twitchy, animalistic "gaga" style of movement.