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Critics reviews
The Assistant
Kitty Green United States, 2019
Kitty Green is a director of proximity. She offers no respite to the film’s intense, humming tension. Instead of wielding it into an action or reaction, her film is made taut throughout, like ice that doesn’t evaporate in the sun.
May 19, 2020
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It’s a tough movie, and on its own determinedly modest, claustrophobic terms, an extraordinary one: It gleams with a blinding bleakness that makes it one of the best American films released this year.
April 28, 2020
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This compact, almost Bressonian narrative feature by Kitty Green, an Australian non-fiction filmmaker now in Brooklyn, has a dark, tense force it keeps in place through minimal dialogue in limited settings.
April 26, 2020
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Kitty Green’s The Assistant is a claustrophobic, intimately unsettling movie about the assistant to an arrogant and abusive New York based film mogul.
February 23, 2020
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Green maintains strict control over how she tells the story, and it’s really something to behold. By imposing limits—through the narrow point of view, through never succumbing to the impulse to explain or underline or even show—Green reveals herself to be a narrative filmmaker of considerable power.
January 31, 2020
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It’s essential to discuss, and to determine, what “The Assistant,” Kitty Green’s emotionally devastating, conceptually powerful new movie, is about. The constraint of thought to exactly and only what’s seen, and the way a character is manipulated to disbelieve what she perceives, are the very premises of the action.
January 31, 2020
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More than a few viewers will find it a grim, even taxing watch; but Garner is so wonderfully cast that she makes the slow draining of Jane’s soul almost visible.
January 30, 2020
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Given the ongoing flood of testimonies to the media and in court, it’s still way too early to call this terrific little drama a period piece.
January 30, 2020
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Green’s film is an interesting test case for the kind of cinematic approaches possible for the #MeToo movement, a subject that risks inviting sensationalism and voyeurism. With her measured, unrelenting realism and focus on systems of complicity rather than the crimes themselves, Green avoids those pitfalls, but her approach leaves no room for displays of courage, let alone hope or change.
January 17, 2020
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All of this—every moment in the movie—rides on Garner’s shoulders, and she delivers something more complex than any words you might use to describe it.
September 03, 2019
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