Orlando

It sometimes teeters on the edge of complacency, but it has a trance-inducing strangeness and Swinton is insouciantly magnetic at all times.

Orlando’s story is not confined to 1928, nor 1992. It does not fade, it does not wither, it does not grow old. It lives as long as Orlando does.

Potter's ironies, veering between the blunt and the exquisite, the oblique and the confrontational, expose the cruel hazards of nature and the perversities of culture.

With words from Shakespeare and Spenser and music from Jimmy Somerville, this is a kaleidoscopic celebration of Albion. Or an art-house Highlander, if you prefer.

The film's wit and layered sense of history seem richer than ever.

The good news about this historical vaudeville is that Orlando's consciousness, like his/her gender, is a delightful work-in-progress.

Audiences who enjoy the process of unfolding that this movie affords, with its wry commentary on sex, love, and freedom, will enjoy Orlando.

A light and lively adaptation of the Virginia Woolf novel.

'Orlando', Sally Potter's second film as director, strikes me as a period drama with noble intentions about gender identity and the long journey of female freedom, but its fantasy tale lacks grace and some vigor. [Full review in Spanish]

Few films understand the value of gender as a spectacle better than Orlando.