Critics reviews

Chajdas and cinematographer Tomasz Naumiuk frame much of the film from behind windows, doors and panes of glass – giving a lot of the action a distorted feel. There is a sense of general confusion and of not being able to see the entire picture – reflecting Nina’s mind-set throughout the film. The camera, like Nina, is not thinking clearly and everything is clouded – including, perhaps, Nina’s judgement.

First-time Polish film-maker Olga Chajdas gives us a movie acted and shot with confidence. But no amount of confidence can disguise how deeply silly this adventure in softcore lesbian sexiness is in terms of credible drama and human motivation – a silliness that escalates into something a little crass.

It feels like much of ‘Nina’ is a convoluted excuse to reach the coupling explored in the film’s later moments. The sex scenes are sensitive and convincing; the rest of the film, not so much.

With strong, affecting performances all round, this is an incredibly accomplished first feature. It has intermittent problems with pacing and is probably longer than it needs to be, but it builds to a powerful emotional catharsis...

There are so many things that don’t add up in Olga Chajdas’ debut feature “Nina” that the film’s bold perspective gets subsumed under a deluge of unanswered questions and flawed logic.

While first time director Olga Chajdas handles the erotic content with confidence, the storytelling is a little uneven and a slightly soapy approach undermines the film’s attempts at emotional honesty.