What you take from Miss Violence depends both on your stomach for this kind of brutality, and whether you appreciate its cold, mannered formalism – one viewer’s stylistic tour de force is another’s grating Haneke pastiche. Still, this is punchy stuff.
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Avranas’ film employs an irony-free meter that certainly distinguishes his work from that of Lanthimos or Athina Rachel Tsangari, and lends the film’s most explicitly severe sequences of domestic and sexual abuse a kind of cumulative numbing power.
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The Playlist by Oliver Lyttelton
Avranas makes a claim to be considered among the top ranks of international filmmakers.
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Village Voice by Zachary Wigon
Miss Violence honors the thoroughly creepy work of Avranas's countrymen, but in his turn of the screw, Avranas marshals the abstract qualities of art cinema to comment upon concrete horror.