आलोचक समीक्षाएं

There’s a pure joy to this documentary, a sense that creativity is miraculous and we ought to be grateful that we get to participate in it. I left both screenings full of ideas for my own work.

The core Eno that emerges is one dedicated to the deconstruction of music and its making at a fundamental level, then recreating it in amorphous terms: feeling, landscape, peripheral perception, belonging.

The film is defiantly unconventional even if it does provide enough of the usual beats to give its audience a solid footing.

The film works most of the time, largely because its subject is such interesting — and warm — company.

It was a singular experience, impossible to replicate and uninterested in being definitive on anything, much the gent at the center of it all.

The film’s randomly generated structure manages to cohere enough to make the experiment mostly a success.

The appeal of “Eno” — like the appeal of Brian Eno himself — is that the film conjures a wholehearted and accessible experience within an experimental veneer.

You could almost call [Eno] a meta-artist. And this is his meta-documentary; it is not, ultimately, as radical as it purports to be, or as revealing as it could have been perhaps (some external viewpoints would have been welcome), but stimulating and cerebral all the same.

This approach fundamentally misunderstands Eno’s entire creative ethos, which relies on technology to elevate—not replace—the unique human ability to create art, a quality that is sorely remiss here.

With a human artist at the center of the film — one with wit and alluring charm, and whose reflections on death and creativity are intriguing, and even harrowing — to eschew meaning in the name of a nominal experiment is artistic malpractice.