Opiniones de Metacritic

Quivoron’s feature debut is so singular, so thrilling, that it will hopefully escape without being sucked into the remake machine.

Rodeo is a combustible fusion of crime story, character study and existential mystery, a tale of celebration and lament, and it announces the arrival of a gifted and adventurous filmmaker.

Thrumming with energy—thanks to vivacious filmmaking from director Lola Quivoron and a ferocious lead performance by newcomer Julie Ledru—Rodeo takes place within the world of underground motocross in the suburbs of Paris.

[Quivoron] emerges as a formidably kinetic director, who could easily have a career making pedal-to-the-metal action movies - although her way with character and deep-dive exploration of working-class subculture suggest that she is way too individual to take a straight generic path.

Rather misjudged dips into the realm of fantasy likewise fail to lift up proceedings, but Rodeo is at its best when it stays down to earth, close to the pavement.

Rodeo is a daring and impressive debut feature that accomplishes something wonderful about movies: it explores a world that few know with a bracing intimacy and genuine respect for the subject. While it typically succeeds, it's thin plot and weak characters outside of Julia, as well as a reliance on repetition, prevent the film from being truly brilliant.

Rodeo is caught between arthouse character study and stylish heist thriller, the two genres never making for easy bedfellows. For all its merits, not even a commanding lead performance can thread these two disparate tones.

Quivoron, who co-wrote Rodeo with Buresi, often switches gears between character study and a heist movie, creating an uneasy whiplash.

The guarded Julia certainly intrigues, but too often the film sinks into the clichés of a rugged character study — no wonder she prefers to accelerate.

Rodeo is a movie that’s all surface, all present tense, all too-cool-to-be-anything-but-French-vérité gestures.