Nannerl, la soeur de Mozart 2010

Walter V. Addiego, San Francisco Chronicle: Nannerl is an intelligent and appealing girl who wages a dignified struggle against what turns out to be insurmountable barriers. Read more

Manohla Dargis, New York Times: Feret paints a speculative, intimate portrait of a family bound by love, genius and ambition and almost undone by the same. Read more

David Fear, Time Out: Goes to great pains to reiterate how the era's misogyny robbed us of an extraordinary talent. Read more

Joe Morgenstern, Wall Street Journal: Feret's strategy involves rigorous restraint. His film is understated, even underlit. Instead of presenting us with forceful performances, he seduces us with subtle ones and allows us the sensation of discovery. Read more

Moira MacDonald, Seattle Times: There's potentially an interesting story here, of ambition thwarted and talent denied, but Feret's movie misses it. Read more

Noel Murray, AV Club: Feret's film looks lovely, is acted well, and successfully humanizes famous folk from long ago. Read more

Ty Burr, Boston Globe: An alternately rapturous and frustrating experience. Read more

Peter Rainer, Christian Science Monitor: As speculative storytelling goes, Mozart's Sister is ingenious but as moviemaking it's plodding. Read more

Tom Long, Detroit News: This is a sad story in rich surroundings that makes you wonder how many women of genius were left behind. Read more

Sheri Linden, Hollywood Reporter: The story of the other prodigy named Mozart is brought to life with insight and a deft blend of historical fact and fiction. Read more

Robert Abele, Los Angeles Times: The object isn't to stir you into what-if feminist outrage so much as to let a culturally magnificent era's societal inequalities act as a dissonant countermelody to a famous artist's biography. Read more

Bob Mondello, NPR: Gorgeous, with candlelit shots looking like old master paintings - a fine match for music that takes your breath away. Read more

Elizabeth Weitzman, New York Daily News: Most memorable is the intriguing peek at frustrations that might have beset the real Nannerl, whose life was defined as much by sacrifice as by art. Read more

V.A. Musetto, New York Post: The cast is excellent, be they relatives of the director or not. And the music, though not by a Mozart, is beautiful. Read more

Steven Rea, Philadelphia Inquirer: The music, of course, resonates. And so does this exquisite heartbreaker of a story. Read more

Roger Ebert, Chicago Sun-Times: The movie is an uncommonly knowledgeable portrait of the way musical gifts could lift people of ordinary backgrounds into high circles. Read more

Sarah Bryan Miller, St. Louis Post-Dispatch: A melancholy but utterly beautiful film. Read more

Trevor Johnston, Time Out: Gilded authentic locations and restrained performances provide an effective setting for Feret's theory about Nannerl's talent being stifled by conventions. Read more

Ronnie Scheib, Variety: Rene Feret's lively, fascinating costumer about Mozart's talented older sister Nannerl smartly incorporates just enough fiction to bring history into sharp focus. Read more

Boyd van Hoeij, Variety: Read more

Ernest Hardy, Village Voice: Subplots hint at what could have been, nudging the film toward biting rather than obvious commentary on the intersections of gender, sexuality, and creativity, and the costs of thwarting expression of any of them. But Feret barely explores this. Read more

Stephanie Merry, Washington Post: A meandering but transporting journey, which offers glimpses of a world as resplendent as it is stifling. Read more