“Zeller’s distressing first feature underpins its narrative with a slippery ontology, taken not as grandstanding metaphysical trademark but as crucial device to interpreting, as closely as possible, the workings of Anthony’s mind.”

Full review at In Review Online.

Embargoed.

The last act, which literalises the film's underlying conceit, also unravels its philosophical and existential heft; logical and narrative absurdity abounds. Yet on the whole, Cabral's debut is remarkably attuned to the sensibilities of the modern world, portraying a globalised and — dare I say — universal consciousness within each and every one of us, as we contend with our place in this vast and alienating society. There are some impressive shots and sequences in this one.

The first thirty minutes show real promise — visceral, corporeal filmmaking that paves the way for an inevitably bitter and heartbreaking fallout. Unfortunately, Mundruczó’s tonal deafness and utter indulgence in the worst of melodramatic cinema turns the rest of Pieces of a Woman into trite, overwrought histrionics. There’s an element of Screenwriting 101 in it, except it feels inserted by a very studious AI.