Critic Reviews



Based on 17 critic reviews provided by Metacritic.com
The Film Stage
Choe shows a deft hand in her brevity and economy of action. So little happens yet it matters so much.
It’s Riseborough who holds the film fast, rooting its seemingly wild twists and character developments into something haunting and, quite often, eerily understandable.
In the end, Nancy is a bit too dogmatic in its refusal to provide easy answers, its emotional impact dissipating like dust in a sunbeam with every understated non-revelation.
Village Voice
I’d urge any viewer to look closely at the lead actress. The emotional journey of the story— and it’s a fairly dramatic one — comes alive and gathers force through her expressions. She is the movie.
Choe has taken a slim scenario and used to touch on universal themes and thoughts of escape and second chances in life.
Rather than defaulting to either condemnation or absolution, Nancy instead holds out the fleeting possibility of love to someone who has never known it before — and asks why we should begrudge her the impulse to seize it.
The filmmaker never pulls us into the twists and turns of her main character's mind, and she tiptoes around, rather than tackles, her ideas about class envy, the performative nature of identity and the tension between truth and happiness.
What’s left is a strange, sour tale that’s neither origin mystery nor journey of self-discovery, but a vexing gesture toward damage and delusion that never permits us to peek under its broken heroine’s hood.
Instead of exploring her actions, and the people they affect, Nancy‘s restraint keeps the film closed-off and grim, as muddy gray as the life she’s aching to ditch.
Slant Magazine
There's vanity in its boutique art-film brand of hopelessness, which derives from a fetishizing of "keeping it real."

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