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Critics Consensus: No consensus yet.
Critic Consensus: No consensus yet.
All Critics (14) | Top Critics (5) | Fresh (12) | Rotten (2)
The film is demanding, intellectually voracious, and reminiscent of Last Year at Marienbad in its brittle aestheticism.
The movie-which was made on a tiny budget with a non-professional cast and no crew to speak of-finds the critical discourse in poetry and vice versa.
There are several ways to look at these scenes. But all you really have to do is listen.
The Academy of Muses draws viewers in and forces them to take sides along with Pinto's skeptical apprentices. By its end, the movie has transcended the boundaries of the classroom to become an educational experience in more ways than one.
[Director José Luis Guerín is] a meta-narrative, semi-doc mad scientist, and his new film is not only both fish and fowl, but a rarefied gender provocation of a kind that could make fourth-wave feminists' heads spin.
The film that exposes its disjointed idea of ideal love, based on a structure also disjointed itself. [Full review in Spanish]
Guerín has employed a small camera and the help of a minimal crew to shoot, between Naples, Sardinia and the City of Barcelona, the film to fascinate Guerín's cinema lovers and to irritate its detractors. [Full review in Spanish]
A fascinating experience, with morbid touches, like a television soap opera, but in the academic field. [Full review in Spanish]
Reality and fiction as complementary propellers in cinema and the distance between the world of ideas and the crudeness of reality are some of the themes that develops this unique film. [Full review in Spanish]
This romance of language is hyper-heightened intellectual discourse... but also supple and seductive. Often static, the images nonetheless glow from within, lustrous, in love with the speaker, more in love with the listener, face turned this way or that.
The Academy Of Muses is a rather hit and miss affair, suggesting that some strange malady has distracted Guerín's focus.
It has the same drawback that most Woody Allen films have, interesting, pretty, but relatively powerless, easily manipulated, emotionally volatile women characters who are victimized by men.
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