EO

"EO is downright exhilarating."

— C.J. Prince, The Globe and Mail (Toronto)

"Pure, tender cinema is rare nowadays, but EO delivers."

— Alejandra Martinez, Austin Chronicle

"EO may be one of the greatest movies ever made about the spirit of animals, as much as we can know it."

— Stephanie Zacharek, TIME Magazine

"EO is a thrillingly imaginative piece of filmmaking: a strange, haunting epic about a donkey that couldn't feel more of our moment."

— John Powers, NPR

"This is Balthazar as EDM remix. A punkish act of both resurrection and necromancy, EO captures the very alienating and restless pace of life at this moment in time."

— Keith Uhlich, Reverse Shot

"EO is a damning polemic on our relationship to other intelligent species — as free labor, food and companions — as seen through the dewy, wide eyes of a donkey whom we come to adore."

— Peter Debruge, Variety

"Jerzy Skolimowski chooses an unassuming, gentle, and watchful donkey to experience the multifaceted spectrum of life, adorning Eo with more personality than any Disney special."

— Maxwell Rabb, Chicago Reader

"A potent emotional charge, very contemporary eco-consciousness, and film-making that at its best fairly sizzles in its strangeness mark out EO as an animal film that stands defiantly on its own hooves."

— Jonathan Romney, Screen International

"EO is a successful attempt by 84-year-old Polish filmmaker and sometimes actor Jerzy Skolimowski to both update and add color to the cinematic conversation about despair, purpose, and braying that Bresson started more than a half century ago."

— Oliver Jones, Observer

"There is no more beautiful-looking film this year; shot by Michal Dymek, it often looks lit from within, glowing as softly as a lantern. And even beyond that, EO may be one of the greatest movies ever made about the spirit of animals, as much as we can know it."

— Stephanie Zacharek, Time

"What draws us in is the inventive and luminous cinematography from Michal Dymek (with additional footage by Pawel Edelman and Michal Englert), using drone shots, fish-eye lenses and red and blue filters. Accompanied by an unsettling electronic score, the donkey-in-a-disco effect is trippy, a hallucinogenic projection of what it might be like to live in an animal’s consciousness, including its dreams and flashbacks."

— Liam Lacey, Original-Cin

"No movie that I’ve seen this year has moved me as deeply, made me feel as optimistic about cinema or engaged me with such intellectual vigor as “EO,” whose octogenarian genius auteur and all the donkeys who play EO — Hola, Tako, Marietta, Ettore, Rocco and Mela — deserve all the love and the carrots, too. EO is an astonishment and so too is this wild, boldly expressionistic movie that conveys the life of its largely silent protagonist with a bare minimum of dialogue."

— Manohla Dargis, The New York Times

"In EO, the camera doesn’t just follow the story or record the action. Its restless, exploratory movements express a kind of shared consciousness, a spirit of communion among different members of the animal world, whether they’re running together in a field or sharing the same tight enclosure. It’s the grace of this movie to extend that communion to the human beings who pass in front of the camera, and whose fates are tightly bound up with EO’s, whether they realize it or not."

— Justin Chang, Los Angeles Times