Winnipeg Free Press - - ARTS LIFE -

It’s a story both ec­static and tragic, and Schn­abel is more in­ter­ested in the for­mer than the lat­ter.

— Peter How­ell,

Dafoe might not make log­i­cal sense in the role, but he com­mands it, his de­mon­haunted eyes com­mu­ni­cat­ing the artist’s in­ner tur­moil dur­ing the fer­tile cre­ative pe­riod in the south of France that pre­saged his fi­nal un­rav­el­ling.

— Bar­bara VanDen­burgh,

This man, much like the real one, is acutely aware of his fragili­ties. Yet by adamantly fo­cus­ing above all else on van Gogh’s work — and its trans­port­ing ec­stasies — Schn­abel has made not just an ex­quis­ite film but an ar­gu­ment for art.

— Manohla Dar­gis,

Dafoe’s work, the look in his search­ing, de­spair­ing eyes, feels be­yond con­ven­tional act­ing, us­ing intuition as well as tech­nique to go deeply into the char­ac­ter, putting us in van Gogh’s pres­ence.

— Ken­neth Tu­ran,

Vul­gar de­face­ments of the art work match the eye-rollingly por­ten­tous melo­drama with which van Gogh’s tor­ments are de­picted.

— Richard Brody,


Willem Dafoe’s per­for­mance earned him a Golden Globe nom­i­na­tion on Thurs­day.


Os­car Isaac as Paul Gau­guin and Em­manuelle Seigner as Madame Gi­noux.

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