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Based on 21 Reviews
critic reviews (10)
fan reviews ( )
  • 75
    Walter Addiego San Francisco Chronicle

    We are told at the film's beginning that we are about to see a "diary of suffering," and it is that, but the effect, after four-and-a-quarter hours, is exhilarating. show more

  • 20
    Joe Neumaier New York Daily News

    The result is a dull, high-minded soap opera. show more

  • 80
    The Hollywood Reporter

    What is left is the sheer joy of storytelling, and willing audiences will find themselves caught up in a what-happens-next page-turner of a film. show more

  • 85
    Mark Jenkins NPR

    Ruiz, whose best-known films include his 1999 adaptation of Proust's "Time Regained," coolly roams the ambiguous territories between tragedy and soap opera, and between the traditional and the modern. show more

  • 88
    Roger Ebert Chicago Sun-Times

    I got a little lost while watching Mysteries of Lisbon and enjoyed the experience. It's a lavish, elegant, operatic, preposterous 19th century melodrama, with characters who change names and seemingly identities, and if you could pass a quiz on its stories within stories, you have my admiration. show more

  • 88
    Michael Phillips Chicago Tribune

    It's a lot. But if you're at all inclined, it's just right. show more

  • 88
    Slant Magazine

    A marvelously elastic storyteller, a dry wit, and a Rivettean anti-determinist, the Chilean auteur Raúl Ruiz is fascinated by narratives that dilate from within, images seemingly full of secret passageways, and fabulists who collect tales like toys. show more

  • 75
    Wesley Morris Boston Globe

    Mysteries of Lisbon brings us far inside oil-on-canvas in a way that isn't imitative. It's simply, magically a moving picture, what a movie in the 1800s would look like. show more

  • 80
    David Parkinson Empire

    Storytelling of breathtaking scale and grandeur, even if the complex plotting may twist your synapses along the way. show more

  • 60
    Joshua Rothkopf Time Out New York

    Comfortable with subtle Proustian detachment, the director has taken another stab at colossal scope, this time getting lost in the cerebral folds. show more

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