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In pairing the aftermath of a natural disaster with the minefield that is female adolescence, it proves its own surreal, savage and superbly performed creation.
Unpredictable, impassioned (despite the cold tone), and highly artistic, Ladyworld might contain a few amateur touches here and there, a few lags in momentum (and an utter lack of mainstream appeal), yet it’s cerebral and forceful, and will have you deliberating its themes for days after.
The New York Times
Kramer choreographs action through striking tableaus that follow the group’s shifting dynamics; the score, built from percussion and a chorus of girlish hoots, builds the tension.
Too many scenes of sub-vaudeville witchy cavorting suggest Kramer hasn’t completely mastered her own poetic register. But it is bracing to watch her reach for the stylised impact needed to carry her ideas about social identity; exactly the kind of the expressive messiness this wing of the post-#MeToo film industry should be engaging in if the old order isn’t going to reimpose itself.
The Hollywood Reporter
Ladyworld proves as much of an endurance test for viewers as the central characters.
Los Angeles Times
While “Mean Girls Apocalypse” sounds like a winning premise, and an incredible thought experiment, the result is something narratively slack and intensely off-putting, which no amount of excellent acting can save.
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