Critics reviews

Portrayals of single-minded sexual focus have a tendency to get super abstract, or over-intellectualized, or exploitative. "Touch Me Not" is definitely abstract and intellectualized, although I didn't find it exploitative. But so much of the film left me cold, even bored. 

The director’s initial verbal reticence contrasts with both the eloquence of some of her characters and subjects and the explicitness of the images she captures. . . . The result is a curiously intense, weirdly tranquil experience, at times hard to watch and then hard to shake.

More than simply signaling the presence of their creators, both films [Touch Me Not and Extreme Private Eros: Love Song 1974] are part of an intensely personal, intimate process for their respective filmmakers, whose involvement becomes even more crucial and significant (in both senses).

Touch Me Not counters dominant ableist cinematic tropes that cast disabled people as asexual or undesirable, and instead enables Christian to speak frankly from his own experience.

In presuming that all audiences feel the same awe at these visceral performances, Pintilie reveals her own narrow perspective.