Metacritic reviews

So it should come as no surprise that what Maddin eventually produced is a film about HIS Winnipeg, a psychological terrain that's no more -- nor less -- "real" than William Carlos William's Paterson or Marcel Proust's Combray.

Both the definition of ''my'' and the definition of ''Winnipeg'' become profoundly fluid in this exquisite ''docu-fantasia'' (Maddin's term), an entrancing riffle through the olde curiosity shoppe of the filmmaker's psyche.

Maddin talks at length about Winnipeg's hidden layers, but what makes My Winnipeg perhaps his best film to date is that so much of it is right out in the open.

Hilarious for those on Maddin's mad wavelength and more varied than his strictly fictional features.

My Winnipeg is overloaded and digressive--it comes with the territory--but it's also grounded in a place, Maddin's Manitoban hometown, and it's painfully engrossing.

In the course of this clanging, spectral memoir, all of the artist's previous movies--from his underground mock epic "Tales from the Gimli Hospital" through his faux–Soviet silent "The Heart of the World" to his period spectacular "The Saddest Music in the World"--come to mind.

Maddin's real point -- and, for admirers of this brilliant and idiosyncratic artist, the true source of the movie’s interest -- is that Winnipeg explains him.

Like all poetic inward journeys, My Winnipeg is likely to resonate with sympathetic viewers in unexpected ways. In viewing his apparently placid prairie city, and his apparently placid prairie childhood, as an intensely symbolic landscape of mystery and terror, Maddin invites all of us to view our own equally ordinary lives in the same light.

Guy Maddin's films are always delightful, but his latest, My Winnipeg, has an added treat for film buffs: It features Ann Savage!

Though it may feel undernourished to the faithful, Winnipeg is an easily digestible meal, for the uninitiated and fans alike.