The B-Side is not one of Errol Morris’ finely focused film essays; instead, you may feel a desire to “shake it like a Polaroid picture” in an effort to encourage its development.

Marjorie Baumgarten

Austin Chronicle

Ms. Dorfman, bless her open heart, has been captivated by the surfaces of the people she shoots, of how they seem. “I am totally not interested in capturing their souls.”

Joe Morgenstern

Wall Street Journal

Not only is it an affectionate and personal film – the subject, Elsa Dorfman, is a long-standing friend and Morris’s emotional investment in her story is evident in every frame. It’s also far more informal in approach than his normal forthright technique.