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All Critics (24)
| Top Critics (12)
| Fresh (19)
| Rotten (5)
The film coheres and builds momentum, its striking images in the service of a poetic narrative.
This is writer-director Maya Vitkova's first feature and she deftly blends the mundane, the operatic and the bittersweet.
The symbolism is milked dry. It doesn't help that all of the actors, including Katerina Angelova as the young Viktoria and Irmena Chichikova as her hard-bitten mother, seem near-catatonic.
Inventively surreal virtues mark Maya Vitkova's ambitious debut feature as the arrival of a bracing cinematic talent.
Long on portentous symbolism and short on coherent storytelling.
A powerful maternal melodrama spanning three generations of implacable women bound by blood, spilled milk and the tumult of a world in transition.
There is a lot of poetry in this Viktoria, and it has a sequence of news and video footage that, with a dramatic score, brilliantly captures the year that launched the world we now live in, 1989.
Viktoria is a family epic, told with pathos, humor, honesty and humility, and is possibly the most inventive and singular film I've yet to see this year.
Viktoria is absurd, often funny, surreal, and beautifully shot.
... symbols can't exist in a vacuum or they become meaningless. Or, in the case of Viktoria, pointless.
A girl is a woman is a country in the bold thunderclap of Bulgarian filmmaker Maya Vitkova's magical mixed-genre widescreen debut feature... History and family and faith and delicious delirium.
Poignant, offbeat and visually striking, but occasionally drags and overstays its welcome.
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