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Japanese animation powerhouse Studio Ghibli explores a new creative direction after the retirement of its founder Hayao Miyazaki with this realistically drawn feature created in partnership with Dutch animator Michael Dudok de Wit. This tale of a shipwrecked man who establishes a family and a new life on an island inhabited only by majestic animal life is told without dialogue.

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Artist : Michael Dudok de Wit
As : Michael Dudok de Wit
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Release date : 2017-01-20
Movie Code : 3666024
Duration : 80
Category : Animation, Art House & International

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Name : Eric Kohn / Alias : indieWIRE
This is a quiet little masterpiece of images, each one rich with meaning, that collectively speak to a universal process.

Name : Peter Debruge / Alias : Variety
A fable so simple, so pure, it feels as if it has existed for hundreds of years, like a brilliant shard of sea glass rendered smooth and elegant through generations of retelling.

Name : Jordan Mintzer / Alias : Hollywood Reporter
Like The Red Turtle's shipwrecked protagonist, you have to simply stop fighting the current and go with the flow.

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Newly arrived from England to marry his fiancee Zaneta (Agnieszka Zulewska, Chemo), Peter (Israeli actor Itay Tiran, Lebanon) has been given a gift of her family's ramshackle country house in rural Poland. It's a total fixer-upper, and while inspecting the premises on the eve of the wedding, he falls into a pile of human remains. The ceremony proceeds, but strange things begin to happen. During the wild reception, Peter begins to come undone, and a dybbuk, the iconic ancient figure from Jewish folklore, takes a toehold in this present-day celebration-for a very particular reason, as it turns out. The final work by Marcin Wrona, who died just as DEMON was set to premiere in Poland, is part absurdist comedy, part love story-that scares, amuses, and charms in equal measure.

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Artist : Itay Tiran, Agnieszka Zulewska, Andrzej Grabowski, Tomasz Schuchardt, Katarzyna Herman
As : Piotr
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Release date : 2016-09-09
Movie Code : 4935158
Duration : 94
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Name : Andy Webster / Alias : New York Times
The film has a powerful undercurrent suggesting the feverish workings of a troubled yet brilliant mind.

Name : Peter Travers / Alias : Rolling Stone
A special kind of awful. I'd talk about the acting, but I never saw any; it's all posing. Director Refn seems to saying that the L.A. beauty business is superficial and needs to be avoided. Ditto this movie.

Name : Kevin P. Sullivan / Alias : Entertainment Weekly
The ending will shock just about everyone, but to what end? Neon Demon is as beautiful and empty as the industry it sends up.

Name : Andrew O'Hehir / Alias : Salon.com
Whether you think it's a brilliant feminist commentary or misogynistic softcore porn is entirely up to you. And who says those things cancel each other out?

Name : Soren Anderson / Alias : Seattle Times
Refn ("Drive") is a visual stylist, first and foremost, and he never lets the audience forget it. "Demon" is a monument to his self-regard .

Name : Dave Calhoun / Alias : Time Out
Gorgeous, obvious, vapid, beautiful, a bit boring.

Name : Justin Chang / Alias : Los Angeles Times
Perhaps it's best to appreciate "Demon" not for what it implies but for what it simply and unmistakably is: A bravura testament to a talent silenced far too soon.

Name : Tom Russo / Alias : Boston Globe
After all the earlier trippy languor, Refn suddenly pushes hard to make this a unique statement. Which it is - uniquely repellent.

Name : Colin Covert / Alias : Minneapolis Star Tribune
Entertaining and deeply screwed up with historic horrors, this is an all-too-human ghost story that wears several bleeding hearts on its sleeve.

Name : Bill Goodykoontz / Alias : Arizona Republic
The film is visually striking, even if the images don't always make sense.

Name : Simon Abrams / Alias : RogerEbert.com
Demon ranks up there with The Witch and The Babadook as one of the best recent horror films.

Name : Liz Braun / Alias : Toronto Sun
The Neon Demon is a cautionary tale about youth, beauty and Los Angeles, a vampiric study of modelling that is both terrifying and hilarious.

Name : Katie Walsh / Alias : Tribune News Service
Archly silly, quotable, visually hypnotic and perfectly suited for repeat viewings. On first watch, the film is bizarre, hallucinatory, shockingly gruesome. A second watch unlocks the dumb-clever charms of Refn's script

Name : April Wolfe / Alias : Village Voice
Whether or not you connect with Refn's brand of over-the-top violence, you can't deny that his attention to color, texture, and music is nearly unmatched by other directors working today.

Name : Anthony Lane / Alias : New Yorker
Prettiness and brutality both seep from the pores of the movie.

Name : Amy Nicholson / Alias : MTV
An all-female cast just gives Refn more ways to get women wrong.

Name : Stephen Whitty / Alias : Newark Star-Ledger
Refn has shown that he's a director who knows how to say things with energy and imagery and verve. Now if he could only find something worth saying.

Name : James Berardinelli / Alias : ReelViews
Pretentious and self-indulgent, it seems tailor-made to appeal to lovers of the obtuse and inscrutable until it takes a left-turn into schlocky, gore-drenched splatter imagery.

Name : Joe Leydon / Alias : Variety
Ambiguity is a worthy artistic goal, of course. But when Demon ends, the audience is left to sort through a thicket of dangling plot threads.

Name : Katie Rife / Alias : AV Club
More interesting than the horror imagery is the film's painfully somber message-no matter how far we try to run, the sins of history surround us always.

Name : Chris Nashawaty / Alias : Entertainment Weekly
It's also so weighted down with mysticism and metaphor it forgets to quicken your pulse or whiten your knuckles.

Name : Stephanie Zacharek / Alias : TIME Magazine
This is purely an exercise in style, and what style!

Name : J. R. Jones / Alias : Chicago Reader
This stylish shocker by writer-director Nicolas Winding Refn (Drive) equates physical beauty with the life force-the metaphor is intriguing, but not enough to compensate for his cliched portrayal of the modeling business as a glamorous snake pit.

Name : Tirdad Derakhshani / Alias : Philadelphia Inquirer
A chilling, eerie cautionary tale about the ghosts that continue to haunt Poland long after the war.

Name : Richard Roeper / Alias : Chicago Sun-Times
Neon Demon is something to look at. It's gotta lot of bark and a little bit of a bite. It just never sinks in.

Name : Mike D'Angelo / Alias : AV Club
The movie ultimately doesn't have a narrative so much as it has a Message, and while Winding Refn doesn't actually go so far as to spell that Message out in big neon letters, he might as well have.

Name : Edward Douglas / Alias : New York Daily News
As with many supermodels, The Neon Demon is gorgeous to the eye but ultimately quite vacant and shallow.

Name : John DeFore / Alias : Hollywood Reporter
Things head eventually in an abstract direction that may have played better onstage than it does here ("we must forget what we didn't see here," guests are eventually instructed), but a compelling atmosphere lingers.

Name : Simon Abrams / Alias : RogerEbert.com
"The Neon Demon" is often productively brash, even if it is ultimately more preposterous than it is satisfying.

Name : Rene Rodriguez / Alias : Miami Herald
The Neon Demon is a voluptuous provocation, a stylish free-fall down a gonzo rabbit hole that is as entrancing as it is maddening.

Name : Robert Abele / Alias : TheWrap
Enjoy the cascade of formal, brazen imagery, just don't mistake its sporadic painterly power for the clinical rigor of Kubrick, De Palma's maestro panache, or a snaky Lynchian nightmare.

Name : Sara Stewart / Alias : New York Post
Like Refn's one-dimensional women, this movie thinks it's profound when it's really just drop-dead gorgeous.

Name : Tirdad Derakhshani / Alias : Philadelphia Inquirer
A bold visionary artist, Refn seems able to revel in the culture of instant gratification while also subjecting it to critique.

Name : Rafer Guzman / Alias : Newsday
Stylish and creepy, but also simplistic and hollow. As an indictment of the beauty industry, it's only skin-deep.

Name : Joshua Rothkopf / Alias : Time Out
Nailing a tricky sense of physical anarchy (as well as some far subtler domestic tensions), Marcin Wrona's Polish import is an eerie, extraordinarily poised piece of horror.

Name : Eric Kohn / Alias : indieWIRE
This grotesque, hyperstylized treatise on the fashion industry recaptures some of the zany images and B-movie abstractions of Refn's crossover effort, "Drive," though it never quite gels on the same level of inspiration.

Name : Alan Zilberman / Alias : Washington Post
Wrona jumbles several genres together, including dark comedy, to illuminate larger, more ambitious themes.

Name : Peter Rainer / Alias : Christian Science Monitor
Wrona keeps everything creepily ambiguous right up to the end, when the foggy dawn breaks and what we have witnessed becomes like a dream within a dream.

Name : Michael O'Sullivan / Alias : Washington Post
If Refn is trying to skewer our cultural fixation with youth and good looks, his blade isn't up to the task. "The Neon Demon" attacks, but indiscriminately.

Name : J. Hoberman / Alias : Tablet
Demon, Wrona's third and last feature, a Polish-Israeli co-production, is a supernatural film, as well as a family of melodrama and extremely dark comedy.

Name : Kate Taylor / Alias : Globe and Mail
Things go downhill rapidly as the movie descends into horror material that is laughably grotesque yet so visually cool it remains fatally unfunny.

Name : Mark Jenkins / Alias : NPR
It's comedy, as much as the eerie atmosphere and Tiran's very physical performance, that distinguishes Demon from routine ghost stories.

Name : Adam Graham / Alias : Detroit News
"Demon" is a testament to a still-budding talent, and it would have been fascinating to see where he went next.

Name : Will Leitch / Alias : The New Republic
A deadly combination of self-seriousness and self-indulgence that's more about the obnoxious petulance of its director than anything else. This is a movie you want to pick up and throw across the room.

Name : Owen Gleiberman / Alias : Variety
It's not boring, but there's less to it than meets the eyeball.

Name : Scott Tobias / Alias : NPR
The mesmeric pull of The Neon Demon cannot be denied. It lures you in for the kill.

Name : David Lewis / Alias : San Francisco Chronicle
It critiques our obsession with models and beauty and style, even as it obsesses about those very same things. There is a lot of flash, but little substance.

Name : Glenn Kenny / Alias : New York Times
"The Neon Demon" is hot garbage that dares you to call it offensive. In addition, it's offensive.

Name : Alison Willmore / Alias : BuzzFeed News
The movie is a bloody-mawed catfight on hallucinogens, but the visual splendor doesn't change the fact that the film barely has characters.

Name : Brian Truitt / Alias : USA Today
Characters only exist as empty archetypal vessels and some of the wackier elements are laughably campy, but Refn's sumptuous visuals and disco-synth score help give Neon Demon undeniably sinister style.

Name : Scott Marks / Alias : San Diego Reader
Though it's based on Piotr Rowicki's play Clinging, director Marcin Wrona's spirited staging keeps it from ever dissolving into canned theater.

Name : Peter Howell / Alias : Toronto Star
Refn is hardly the first moviemaker to find a link between supermodels and scary monsters, but he may be the most style-minded one to make the connection. Imagine an issue of Vogue with Maleficent as guest editor.

Name : Matthew Lickona / Alias : San Diego Reader
Yes, Refn indulges his camera to the point of luxuriating, but then, he has reason to believe you'll stay with him.

Name : David Lewis / Alias : San Francisco Chronicle
The exquisitely shot "Demon" is not gory or particularly scary, but it has its fair share of chills.

Name : Adam Graham / Alias : Detroit News
There's no denying the beauty of Refn's images, even if his puerile instincts are at odds with his obvious pretensions. Those who cry it's shallow and ugly won't be wrong; others will love it for those very reasons.

Name : Justin Chang / Alias : Los Angeles Times
Nicolas Winding Refn's latest film is a self-indulgent exercise in style. But what self-indulgence, and what style!

Name : J. R. Jones / Alias : Chicago Reader
Tonally the film recalls Andrzej Żuławski's shrieking psychodrama Possession, though the key to that movie was its inexplicability and Wrona's movie, with its conventional horror backstory, is much less perplexing.

Name : Todd McCarthy / Alias : Hollywood Reporter
A stultifyingly vapid, ponderously paced allegorical critique of the modeling world whose seethingly jealous inhabitants can't wait to literally chew each other up and spit each other out.

Name : Rex Reed / Alias : New York Observer
I'd like to tell you how dumbfoundingly awful The Neon Demon is, but I know when to give up.

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