आलोचक समीक्षाएं

As a minor work, it provides an enjoyable snippet of rambunctious formalism that puts Noé in a category of his own.

The movie’s half-hearted jokes, on frustrated women artists and their blind male collaborators, tend to be one-note and thankfully besides the point. But if you adjust your expectations, you’re more likely to accept Lux Aeterna as a vigorously realized doodle.

Is it enjoyable to watch? Hell no – there’s a reason why everybody on the screen is either screaming or crying for it to stop. But you have to hand it to Noe, because it is kind of mesmerizing in its perverse single-mindedness, and the fact that “Lux Aeterna” is only 50 minutes long makes it more endurable.

While it holds more value for the conversations it will undoubtedly spark between audiences, the thriller still stands as a bold and brash experiment that demands multiple viewings to get the most of its style and themes.

There’s something frustrating about Noé’s approach, but also an undefinably admirable quality to the extremity of his showmanship.

If the film-within-the-film is a vapid fetishization of women’s martyrdom, Lux Æterna is a willful exercise in repulsing its own audience.

It's all business as per Noe usual.

Lux Aeterna, to its credit, is a pretty terrible commercial and an undeniably fascinating experiment.

It might leave audiences feeling brutalized, exhilarated, amused, annoyed, or all of the above, but will it leave them feeling like they want to drop a thousand dollars on a handbag? They will certainly feel like they’ve just watched a Gaspar Noé film.

Insufficiently diverting ... Lux Æterna shows Noé reverting to the self-parodic silliness that Climax had taken him past.