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Critics reviews

AMY

Asif Kapadia United Kingdom, 2015
The New York Times
Asif Kapadia and Sean Baker are responsible for two of the past year's most innovative movies, "Amy" and "Tangerine." Mr. Kapadia's "Amy" uses extensive amateur video footage culled from a range of sources to create a painfully candid account of the British singer Amy Winehouse's rise and fall
February 5, 2016
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Amy is surprisingly shattering -- you know what happens -- but as a tale told by edited existing footage when that is now entirely possible – you feel almost part of her story... Amy Winehouse has had a camera in her face since 16, so watching a decade of her life ascend and then smash to pieces puts us in the story that builds almost into a horror movie. You want to reach in and grab her out of there.
December 31, 2016
The Bangkok Post
Amy is a biographical documentary of the singer Amy Winehouse, but it is also a horror film. Watching it is like watching a ghost, a confused, tortured ghost of a woman who has boundless talent in singing and none in living... This is one of the best documentary films this year, and in some parts it's also one of the hardest to watch.
August 28, 2015
Kapadia has no immediately new argument to make, no revelations to put forth. It is as impressionistically ghostly as Senna, Kapadia's previous documentary, another footage-and-disembodied-audio treatment of the race car champion Ayrton Senna. And it loosens anew Winehouse's smoldering, old-soul artistry.
July 15, 2015
The most touching line in Amy is spoken, as a kind of elegy, by Tony Bennett, the 88-year-old crooner who's become a kind of talisman, and once recorded a duet with Winehouse. "Life teaches you how to live it," he points out. "You just have to live long enough". In the end, she was just too young.
July 13, 2015
As he showed with Senna, filmmaker Asif Kapadia is a master of the modern tragic narrative, and his documentary Amy fulfills the form. Pity, terror, and, rather than catharsis, heartbreaking loss: The film limns Winehouse's short, brilliantly creative life and overdetermined death in 2011 at age twenty-seven. You very well may obsessively limn the film after it's over, feeling guilty about every death in your life that, just maybe, you could have prevented, if only…. Amy hits home.
July 8, 2015
The results are less illuminating [than with Kapadia's previous film], in part because Winehouse's sad demise recalls that of so many other doomed young stars. Winehouse's struggles with bulimia and depression are introduced like plot twists midway through the film, which feels a bit sensationalistic, but Kapadia and King provide some worthy insights about the damaging effects of celebrity on psychologically fragile individuals. And the music is fantastic.
July 8, 2015
The film is as much a celebration as an elegy, and while much of the footage included is low-definition (to put it mildly), Winehouse's performances and songwriting craft, as showcased here, make a strong case for her legacy.
July 8, 2015
Kapadia counters the downer tone with lots of shots of [Winehouse] writing music, the camera moving into extreme close-up to superimpose her face on the page. He discovered how to penetrate her unique complexity. "The answer is in the lyrics," the Indian-English filmmaker told Kaleem Aftab of The Independent, adding thatAmy is his Bollywood moment, a movie in which song lyrics are key.
July 6, 2015
Arguments will no doubt continue to rage, especially in the singer's family and professional circles, about whether or not Kapadia is distorting or selectively representing the facts. But one way or another, Amy comes across as an intelligent, empathetic, and very moving account of a formidable talent and a radiantly original personality, however damaged.
July 2, 2015
This is a film about ‘the voice' augmented by the word, but it's also about the image, and Kapadia makes powerful use of still photography, whether pictures stolen by the paparazzi, studio portraits, snapshots or selfies. The presence of so many little-known images indicates the sheer number of pictures taken of Amy; we see the child become a young woman ("Stop filming my spots!" she complains to a friend), then an icon and increasingly a caricature of her own stylised image.
July 2, 2015
The New York Times
The documentary becomes progressively more difficult to watch as Ms. Winehouse falls apart and as its intimacy, which earlier felt nice and cozily warm, starts to feel uncomfortably intrusive. This discomfort is crucial to the movie's complexity and is why it works as somewhat of an ethical and intellectual provocation.
July 2, 2015