Too many scenes of sub-vaudeville witchy cavorting suggest Kramer hasn’t completely mastered her own poetic register. But it is bracing to watch her reach for the stylised impact needed to carry her ideas about social identity; exactly the kind of the expressive messiness this wing of the post-#MeToo film industry should be engaging in if the old order isn’t going to reimpose itself.

Phil Hoad

The Guardian

Kramer choreographs action through striking tableaus that follow the group’s shifting dynamics; the score, built from percussion and a chorus of girlish hoots, builds the tension.

Teo Bugbee

The New York Times

In pairing the aftermath of a natural disaster with the minefield that is female adolescence, it proves its own surreal, savage and superbly performed creation.