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3 Women
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3 Women
CRITICS OF "3 Women"
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The Skinny
Resource

July 28, 2015

Altman's signature telephoto framing, omnipresent murals depicting demon-like creatures, and an atonal score add a creeping menace to uncanny California desert settings.
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Chicago Sun-Times

March 05, 2005

I have seen it many times, been through it twice in shot-by-shot analysis, and yet it always seems to be happening as I watch it. Recurring dreams are like that.
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Hollywood Reporter

June 04, 2004

A spectacular artistic success.
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New Yorker
Resource

December 15, 2014

Throughout, Duvall is brilliant: she coins a brand-new caricature of the confident yet clueless single female, then suggests a real person underneath.
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Village Voice

June 25, 2002

A gauzy, perfectly executed vacation in Doppelgänger-burg.
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Cinemania
Resource

May 20, 2013

Insinuates itself into your skull, and earwig-like proceeds to consume all you thought you knew of ontological security
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Scene-Stealers.com
Resource

October 27, 2011

3 Women is definitely a slow burn of a movie, but it's also amazing how well it taps into and visualizes the subconscious. Nothing is spelled out by Altman, who wants the audience to interpret the film's meaning for themselves.
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Artforum
Resource

December 09, 2014

The film is rich in brilliant oddities and juxtapositions, never more so than when Duvall and Spacek are encompassed in the same frame.
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Times (UK)
Resource

July 16, 2015

The result is remarkable -- a semi-lucid, feverish tale of female relationships that disintegrates into a kind of woozy, oppressive madness.
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Ozus' World Movie Reviews
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January 16, 2011

Absorbing until it crashes in a tiresome manner trying to be too inexplicably symbolic.
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New York Times

May 09, 2005

Like a dream, it is most mysterious and allusive when it appears to be most precise and direct, when its images are of the recognizable world unretouched (as happens in the film from time to time) by camera filters or lab technicians.
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Chicago Reader
Resource

January 01, 2000

Robert Altman's would-be American art film (1977) is murky, snide, and sloppy.
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