Abuse of Weakness
Stephen Holden(New York Times): [A] chilly, dark portrait of two control freaks locking horns.
Elizabeth Weitzman(New York Daily News): Breillat's self-conscious denial to establish a realistic basis toward this deeply mismatched relationship winds up weakening the pellicle irreparably.
Sara Stewart(New York Post): The ability to ~, though never less than engaging, sometimes tests believability – until you remember it's drawn from Breillat's life.
Zachary Wigon(Village Voice): Breillat's stirring film is a study of bodies and for what cause we carry them, and it explores the sorts in which weakness seeks out brilliance on an almost primal level, bypassing the higher modes of human reflection.
Ben Kenigsberg(AV Club): The movie is entertaining to think about as another of the Anatomy Of Hell director's power-struggle portraits, equable if its conceit-by design-foliage the question of how the filmmaker allowed a known actor to bilk her out of thus much money unresolved.
Boyd van Hoeij(Hollywood Reporter): Like in aggregate of the director's work, psychologically reductive readings of the characters are abstracted, though intriguing performances give audiences a manner into the material.
Peter Sobczynski(RogerEbert.com): This research of power, greed, emotional manipulation and artless need is gripping and powerful to behold on a level if you don't discern the story behind the story.
Brian Orndorf(Blu-beam.com): Huppert's performance uncompounded-handedly preserves interest in Abuse of Weakness, elevating the resemblance's askew mystery with a estimable sense of determination and, at state of things , despair.
Kam Williams(Baret News): A cautionary tale depicting a shocking example of piece 's inhumanity to (wo)man.
Scott Tobias(The Dissolve): Abuse Of Weakness is the mentor's attempt to account ~ the sake of actions that seem inexplicable, and construct the audience understand and sympathize in generous.
Kristin M. Jones(Film Comment Magazine): It's unpropitious to imagine an actress other than Huppert in the way that artfully layering frailty and toughness, self-imposture and self-awareness, and her intricate portrayal is an irresistible foil to Kool Shen's nonplussed expressions and wounded swagger.
Laura Clifford(Reeling Reviews): The unbroken film has an underlying S&M radical verb that is more potent than Maud's eventual interpretation of her own behavior.
Daniel Walber(Nonfics): Somehow as well-as; not only-but also; not only-but; not alone-but a fiery work of conviction and some insecure, open-ended question
Beth Hanna(Thompson in successi~ Hollywood): The title of the film may be "Abuse of Weakness," mete Isabelle Huppert's performance at the same time that a filmmaker who suffers a reverse and then gets willingly conned by an ex-con is nothing limit strong and steely-nerved.
Stefan Pape(HeyUGuys): Thought-offensive this may be, regrettably Abuse of Weakness is a more or less forgettable film, deviating away from person of the most fascinating aspects of tot~y; the movie she wants to bring forth.
Ela Bittencourt(Slant Magazine): Catherine Breillat's scripting of Maud at the same time that fatally distant from her family, willfully unrestricted, but more believably abandoned, is haunting.
Kent Turner(Film-Forward.com): The physical demands of the role offer a novel opportunity for Huppert, who is in other respects on automatic pilot, aloof and scornful.
R. Emmet Sweeney(The L Magazine): The word in Catherine Breillat's Abuse of Weakness is nearly the incomprehensibility of the self. It's every autobiographical purging.
Allan Hunter(Screen International): This is a considered, unsentimental attempt to understand the filmmaker's apparently inexplicable entanglement with a convicted ~ over man.
Nathaniel Rogers(Film Experience): It's like if Breillat is determined to form the same mistakes all over again, botching her own would be exorcism.