Reseñas de la crítica

There is a sense that Seven Veils doesn’t always know exactly what it intends to be; a drama with some curiosity about being a thriller, but not the conviction to fully see that transformation through. What it unabashedly is, and what no one can take away, is an earnest celebration of the theater art form and of Salome itself, in a way that few other films have replicated.

Seven Veils comes from a place of more authentic involvement in its classical theater setting, but it’s also less witty and dynamic as a drama. Its pleasures are ultimately more textural and academic.

On paper, Seven Veils does have some of the elements that made Tár so intriguing, confronting the spectre of monstrous artists without wading through such dense thickets of cancellation politics. Alas, it’s confused and inert, especially by comparison.

It is understandable that, after its world premiere in Toronto, some critics described the film as muddled; for anyone unfamiliar with his source stories, this dense thicket of magic-lantern slides could well be bewildering.

“Seven Veils” is a metatextual commentary on the creative process and its effect on people... with the off-putting stilted dialogue, I can’t tell if Egoyan is aware of everything in his metatextual milieu, only that he is reveling in its chaotic frequency.

Egoyan's script feels like it's juggling a few different feature film ideas, and because it bites off more than it can chew, it doesn't manage to tell any of the stories in a cohesive, satisfying manner.

To be sure, his work is often challenging, but the themes are fully connected and realized here. The screenplay is intricate and thoughtful. It’s just such a thrill to witness artistry and craftsmanship in every facet.

This slippage between art and life, sincerity and trickery, is key to deriving some sense of meaning from this strange and sultry but ultimately exasperating film, which plays like “TÁR” as refracted through “Madeline’s Madeline” with more than a few shards of glass missing.

The surreal, Lynchian atmosphere of Seven Veils captures a cynical world about the darker side of performing arts. Atom Egoyan may be a hard watch to some, but he is never boring.

Appropriate considering the source material, this intense psychodrama about buried trauma and doomed romance demonstrates an unapologetic operatic flair which entrances and over-reaches in equal measure. Seyfried exudes a stark intensity that grounds the proceedings — whenever Egoyan risks losing control, she keeps the production on course.

It never reaches operatic heights but stays pleasantly grounded in this take on the psychological torment of an artist. Egoyan blends the two worlds of opera and film in an engaging, authentic way.

Art and life are inextricably entangled in Atom Egoyan‘s Seven Veils, a wildly ambitious, visually intoxicating reinterpretation of the Richard Strauss opera, Salome, that proves to possess almost as many layers as the Biblical princess’ famous dance routine.