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Critics Consensus: Raw, bracingly honest, and refreshingly unconventional, Krisha wrings fresh -- and occasionally uncomfortable -- truths from a seemingly familiar premise.
Critic Consensus: Raw, bracingly honest, and refreshingly unconventional, Krisha wrings fresh -- and occasionally uncomfortable -- truths from a seemingly familiar premise.
All Critics (74) | Top Critics (27) | Fresh (71) | Rotten (3)
Are we watching the emergence of America's next great filmmaker?
"Krisha" is a stone cold stunner.
From the first scene of "Krisha," writer and director Trey Edward Shults puts us off balance, and for the next 83 minutes keeps us that way, almost daring us to look away.
Fairchild's performance is key to the movie: Krisha is witty and chatty one moment, shut down like a deserted fairground the next. We see dazzling warmth in her eyes but also the terror of total system failure.
Krisha may go on a little longer than you'd want, but then, its title character is the kind of houseguest who stays longer than you'd want her to - so even the postscript confrontations and apologies feel right.
At times you laugh in horror. At other times you shrink from the screen. There are truths here.
KRISHA is a well-deserved achievement for a project that hits close to anybody, but the flair of experimentation from Schults' camera keeps the tension at a fever pitch.
The film practically vibrates with a nervous energy.
Shults can't quite help himself from over-directing every moment. He's seemingly lived this subject matter, even casting himself as Krisha's long tormented son. But being this close to the material has swayed his film into the realm of misery porn.
Krisha comes from real pain, a wound that is thoroughly opened up on screen. I can't wait to see what Shults and his aunt do next.
Krisha certainly is a difficult film to like or recommend in the traditional sense, but what writer-director Trey Edward Shults has birthed here is something that demands to be seen.
Mimicking the one-track mind of addiction, this movie is about Krisha: her humanity, her fear, her actions and their consequences.
I like how Shults makes us experience the discomfort felt by his protagonist using a dissonant music and long wide-angle shots, creating a film that is so depressing and hard to stomach that we even forgive him when it feels like he is paying too much attention to his own direction.
Super Reviewer
Krisha has a lot of interesting ideas going for it, but one begins to doubt its ability to bring them all together as it races towards its final minutes and seriously begs the question of what exactly everything is building to. Opening with a close-up on the epic face of the titular Krisha (Krisha Fairchild) writer/director/editor and actor Trey Edward Shults goes from here onto deconstructing the pain that is hidden beneath the cracks and crevices of Krisha's skin. The glaring first shot presents us with a composed if not slightly faltering facade surrounded by darkness. We are seconds in and we already have a million questions. Though the film only runs a mere eighty-three minutes Shults is careful to build dynamics and define relationships both in relation to our title character and throughout the supporting cast so as to make the impact of the final act all the more unnerving. Unnerving would be the key word given the audience is privy to only pieces of information in each scene. There are moments of frustration where you begin to wonder if Shults is holding back too much; keeping the plot details as restrained as his music, but as if he knows the fuse is running short the director will intermittently deliver montages of movement and sporadic sound that not only capture the chaos of a house on Thanksgiving day, but the swirling of thoughts, conflictions and turmoil that are rushing through Krisha's mind. Despite the fact it taps into the tone of a psychological horror film, Krisha is in no way intended to be a scary movie. If anything, the film is a family drama steeped in the secrets we all keep from one another and the boiling point when they all come spilling out. It is a deconstruction of the idea of what happens when you don't like the people you're forced to love. You don't get to choose your family, but more importantly you don't get to choose who they become and Krisha can't stand the superficial kin she's related to. As the day the film documents goes on, histories are unraveled and truths are revealed to the point one knows they're experiencing something absorbing, but can't help but to shake the feeling more deserves to be said. read the whole review at www.reviewsfromabed.com
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