Les Fantômes de Goya

Un sujet ambitieux emprisonné dans une farce télévisée déséquilibrée et confuse. La seule qualité positive - des acteurs de qualité. (23/01/2007)

Trois étoiles pour la performance de Javier Bardem. Ma note se base notamment sur ma grande déception quand j’ai appris qu’il ne s’agissait pas d’un film biographique sur l’un des peintres les plus exceptionnels au monde. Ce que raconte ici Forman m’a laissé de marbre et on peut facilement trouver de meilleurs éléments dans sa filmographie. (07/05/2014)

The master made an error. A mushy and calculated screenplay, which tries to play at intellectual construction, completely soulless characters (only faint reflections of Forman’s former brilliance in a small character drawing), and a protruding to almost stale directing concept (especially the crowd scenes evoke cheap television productions). Goya is something like product placement – his name stands out nicely, but we can only dream that this is any sort of speculative psychology of genius, albeit simple but lively (Amadeus!). Milking emotions with Natalie Portman's grandma mask and Javier Bardem's satanic frown is not worthy of one of the greatest directors of recent decades. It truly isn’t. This is Forman’s first great mistake. (03/03/2010)

Against the backdrop of the shadowy side of modern Spanish history, Forman once again delivers his spectacular play. It is stunning with its sets, costumes, and, last but not least, an amazing atmosphere that breathes life into Goya's cruelly pessimistic paintings, worth experiencing for 120 minutes. The acting trio works perfectly with the director in their brilliantly acted parts. Stellan Skarsgård IS a Goya, Natalie is great like never before (and it's not just about getting naked here, as subliminal marketing everywhere proclaims), and Javier Bardem's mesmerizing demon literally destroys the screen with his performance. Forman is back in full force after seven years, once again mixing his genres properly, resulting in a stylish spectacle that may not grab you immediately, but resonates all the more when the credits roll. (15/02/2007)

I don't question the message and the strong idea Forman was trying to get across. I will make an odd analogy: while a film such an Amadeus is like a roasted turkey with delicate stuffing, crispy fried potatoes and a hearty vegetable garnish, accompanied a Sauvignon Blanc vintage 2004, Goya's Ghosts evokes a toast with garlic and a glass of sparkling mineral water. Nothing wrong with that, it will fill you up, but with a different end result for your taste buds :) (09/03/2008)