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Leave your thoughts about No Bears.
| Los Angeles TimesJustin ChangThe realities of the situation are grim enough that a lesser work might have paled into insignificance, but No Bears — the best and bravest new feature I saw last year, a work of extraordinary emotional power, conceptual ingenuity and critical force — somehow manages the opposite. |
| CineVueChristopher MachellPanahi’s courageousness as an agitator is matched only by his inventiveness as a filmmaker. |
| Screen DailyJonathan RomneyA complex work of novelistic density, this is among the boldest and most accomplished statements from one of the world’s exemplary filmmakers. |
| Rolling StoneDavid FearYou leave feeling like you’ve just seen a truly extraordinary late work produced by one of the era’s greatest working auteurs, quickly followed by the sense of experiencing a sucker punch when you remember that the man driving away from the scene of the crime onscreen isn’t able to go anywhere once that screen fades to black. |
| The PlaylistElena LazicPanahi does not paint himself and his practice in a kind or perfectly innocent light here. However, his ability to still clearly identify who the real culprits are is an inspiring testament to his clear-mindedness and his unshaken ability to imagine a better, more just world. |
| RogerEbert.comGlenn KennyNo Bears is a picture that’s in keeping with his recent work—circumstances deemed that it just had to be—but one that breaks away from it in ways that yield a work of, yes, astonishment. |
| The New York TimesA.O. ScottPanahi, whose courage and honesty are beyond doubt, has made a movie that calls those very qualities into question, a movie about its own ethical limits and aesthetic contradictions. |
| Original-CinLiam LaceyAt times, No Bears can come across as frustratingly convoluted, but Panahi is an artful filmmaker, who surprises us by breaking the rhythms of the film with disruptions, confrontations, and plot twists. |
| San Francisco ChronicleBob StraussLike all his films of the last dozen years, “No Bears” brims with paranoia and metaphors for the trouble Panahi’s pictures have gotten him into. This time, though, he implicates himself in a complex exploration of how his work can exploit and even exacerbate the real-life tragedies it’s always so powerfully depicted. |
| New York Magazine (Vulture)Bilge EbiriWhile No Bears is profoundly powerful in its own right, the knowledge that its maker is incarcerated gives its explorations of exile, truth, and freedom a throat-catching urgency. |
