An intersex African hacker, a coltan miner and the virtual marvel born as a result of their union.... (Full plot summary below)
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An intersex African hacker, a coltan miner and the virtual marvel born as a result of their union.
Leave your thoughts about Neptune Frost.
| Film ThreatMichael Talbot-HaynesThe proceedings have that perfect narrative balance of a simple fairytale, leading to baffling visions and fantastic ideas. |
| The Hollywood ReporterJourdain SearlesNeptune Frost is an intimidating film, both in scope and pure cinematic power. |
| TheWrapCarlos AguilarFor all of the film’s ideological richness, what Neptune Frost discusses is far from impenetrably abstract. The directors not only hack cinema, a medium historically dominated by white storytellers, to make a statement, but they also reposition its lens to center a fresh crop of artistic voices in a mesmerizing battle cry of a film set to the inextinguishable beat of the drums. |
| The New York TimesA.O. ScottThis isn’t a tight, tidy allegory of capitalism and colonialism so much as a collage of vivid images, sounds and words that punch the movie’s themes like hashtags. Williams and Uzeyman marry anarchist politics with anarchist aesthetics, making something that feels both handmade and high-tech, digital and analog, poetic and punk rock. |
| RogerEbert.comRobert DanielsIt’s a collective dream coated in a blue lacquer dancing on the edge of something unrecognizable, something wholly transcendent. And it arrives with an exceptional display of bravura. |
| New York Magazine (Vulture)Roxana HadadiNeptune Frost is a mission statement by way of a musical, and its defining image is a middle finger taking up the whole lens. |
| Los Angeles TimesKatie WalshIt’s a war cry that’s simultaneously a galvanizing call to action, a message of hope and a reminder that a different world is possible. |
| Austin ChronicleSarah JaneNeptune Frost can confidently take its place alongside other hallowed Afrofuturist films like Sun Ra's Space Is the Place (1974), The Last Angel of History (1996), and more recently Black Panther (2018). |
| The GuardianPhil HoadIf narrative clarity is obviously not top of Uzeyman and Williams’ priorities, the film always looks amazing: fluorescent dream sequences, glitchy cyberpunk overlays, wild character designs (from costume designer Cedric Mizero and makeup artist Tanya Melendez). |
| Little White LiesCharles BramescoWilliams and Uzeyman work in a mode of rich ideas and vibes, both so plentiful that the narrative obliqueness feels less alienating and more like an inviting challenge. It earns the attention it demands. |
