Gloria Bell's reviews
Media reviews
Indiewire
Moore does away with those misgivings from the very first shot, turning 'Gloria Bell' into the cinematic equivalent of a new theatrical staging for a beloved play. Unlike Gus Van Sant?s bizarre 'Psycho' remix, Lelio boils the essence of his project down to a handful of new faces. At the same time, he wisely stays close to the material, adapting the screenplay he co-wrote with Gonzalo Maza into a fresh platform for Moore to give some of her best work in recent memory.
The Guardian
Leilo depicts each moment with a dreamlike abandon, helped along with the hot pinks and pastel yellows of Natasha Braier?s cinematography.
Rolling Stone
And Moore is just phenomenal. She finds Gloria?s loneliness and frustration in being stuck in a dull insurance job, but also her exhilarating joy in life, at the disco.
Vulture
Gloria Bell is best when it?s least definite, when the conversations are full of awkward holes and the relationships are in flux. I wish there were more of Michael Cera as Gloria?s bereft, angry son, whose wife has gone off to the desert and left him with a baby.
Fotogramas
Gloria's journey is so universal and so well shaped by the original script by Sebastian Lelio and his partner Gonzalo Maza that this woman could become a new archetype of female fiction. With or without the participation of the Chilean director, a filmmaker with a formidable future ahead who has already fulfilled his mission here to make the story of Gloria more accessible to the world (globalized and sadly allergic to subtitles).
The Hollywood Reporter
Lelio strikes a more overtly comic note in Gloria Bell than in the original. Moore and Turturro are naturally funny performers, playing out the awkward body language of budding romance as a neurotic comedy of manners. Loaded pauses and well-timed punchlines figure more prominently, too, but Lelio never stoops to easy caricature, allowing each of these flawed characters a fair hearing.
Festival Internacional de Cine de Lanzarote