Critics reviews

Vibrantly hand-painted, cell-by-cell onto 35mm film, the celluloid stutters and shakes with an ethereal soul, as if projected from the innards of the mind and out of the back of the head.

The film calls to mind Maya Deren’s Meshes of the Afternoon through a ritualized unfolding of time and repeated gestures... Like Deren’s experimental film noir, Asparagus uses the slenderest of narratives to structure an intensely self-contained world that turns in upon itself, architecturally and emotionally, opening boxes within boxes, rooms within rooms.

Pitt’s most enduring work... it is difficult to imagine positioning Asparagus as anything but a stand-alone [film], densely-packed as it is with Jungian signification and impossibly detailed dreamscapes.

[Asparagus] is as oneiric, engrossing and hypnotising as a deep daydream, seamlessly weaving together a succession of strange set-pieces around the presence of a female protagonist whose face we never see.

Asparagus as a film contains highly personal narrative images, depicting the world of a magician-woman bringing her private creations and anxieties to an audience... As an event and an object, [the film] is totally compelling, masterfully crafted and aware of its structure and the implications of that structure.