Reseñas de la crítica

Plummer’s performance is so riveting that one almost wishes the camera never left her in order to explore the film’s narrative commitments—as eccentric as those may be... Abigail Harm [boasts] a sense of originality, a daring and organic playfulness rarely found in American indie cinema.

[Abigal Harm] is filled with overburdened metaphors and quivering emotions, quirks and tics and even regulation Malick-like twirling. Some of this is pretty; none of it sticks.

[The film's] hodge-podge will be appreciated only by those patient few willing to surrender to its pretensions. Still, the opportunity to see the arresting Plummer in an all-too-rare leading role does offer some compensation.

Those of us who were hoping that Chung’s debut, Munyurangabo (2007), signaled a bold new voice may be disappointed with the reheated Malick leftovers served here, though the gorgeous cinematography and generosity to Plummer’s emotive gifts almost make up for the mumbo-jumboness of it all. Almost.

[Abigail Harm] establishes an intriguing ambience, but the original tale’s ruminations on free will and the fundamental need for humans to connect with each other are muffled by a minimalist approach to storytelling.