75
Metascore
11 reviews · Provided by Metacritic.com
- 90Film ThreatBobby LePireFilm ThreatBobby LePireVision Portraits heart lies within these stories, but its power stems from its style. The cinematography by Kjerstin Rossi and Mark Tumas is often obscured, fuzzy, out of focus, or so close it is uncomfortable.
- 83The Film StageJohn FinkThe Film StageJohn FinkBrief, personal, insightful, and well-crafted, Vision Portraits is a giving look at the process of expanded creativity by four fascinating artists.
- 80Los Angeles TimesRobert AbeleLos Angeles TimesRobert AbeleEvans has made a touchingly honest ode to the inner life of all artists.
- 75RogerEbert.comOdie HendersonRogerEbert.comOdie HendersonThis is an inspiring film, a funny and informative feature whose subjects were creative kindred spirits I’d never seen onscreen before. I realized that I was being represented here, and my unreconciled shame morphed into a sense of liberation.
- 75San Francisco ChronicleDavid LewisSan Francisco ChronicleDavid LewisIt’s a moving meditation about our unwavering need for creativity, and finding ways to express it.
- If only for the in-depth discussions of the creative process, the film is worth a watch.
- 70The New York TimesBen KenigsbergThe New York TimesBen KenigsbergDespite its focus on as fluid and mysterious a subject as art, Vision Portraits addresses blindness in concrete, comprehensible terms.
- 70TheWrapElizabeth WeitzmanTheWrapElizabeth WeitzmanThe result is artistically uneven in structure but emotionally powerful throughout.
- 70Wall Street JournalJoe MorgensternWall Street JournalJoe MorgensternThe extraordinary thing about this film by Rodney Evans is how well it conveys the complexity. Vision is precious, it reminds us frequently. At the same time we’re brought to understand that blindness, far from being the end of the world, constitutes another mode of living in it.
- Oscillating between traditional documentary and experimental, subjective attempts to capture what it’s like to be impaired, Evans creates a moderately successful portrait of, what the film references as, the space between seeing and not.