Completely blown away by Ana de Armas in #Blonde. Her performance is captivating and mesmerizing. I couldn't take my eyes off of her. She embodies Marilyn and she disappears into this role. Oh, and the costumes are absolutely lush. This film will be divisive for sure. pic.twitter.com/NqpjmOX5Ak

— Jazz Tangcay (@jazzt) September 8, 2022

Wrote about Blonde for @Gawker, didn't mention that Andrew Dominik said I was manic depressive 🙂 https://t.co/Yw56SHHMJO

— hannah strong (@thethirdhan) September 8, 2022

#Blonde is ELECTRIFYING. An exploitative fever dream that skews closer to Requiem For A Dream than anything since. So very dense and indulgent but fascinating! Ana de Armas is just phenomenal as Norma Jeane and the trauma construct she disassociates into:Marilyn Monroe #Venezia79 pic.twitter.com/EHsRAAYzwh

— Connor Lightbody (@Calbody) September 8, 2022

Annnd it's what I expected. https://t.co/Bu2MJ1oua8

— Kristen Lopez (@kristenlopez88) September 8, 2022

Andrew Dominik’s BLONDE is many things but definitely not bland — a voyeuristic must-see, if only for Ana de Armas’ fearless plunge into the tortured role of Marilyn Monroe. My @THR review of the Netflix feature, premiering in the #Venezia79 competitionhttps://t.co/jqeEiH0DXp

— David Rooney (@DavidCRooney1) September 8, 2022

I was spellbound by BLONDE, the nebulous and unruly Marilyn Monroe ‘biopic’ that will, I think, age into masterpiece material. Out of #Venezia79, my review for ⁦@VogueMagazine:⁩ https://t.co/chxMDxkr3A

— douglas greenwood (@douglasgrnwd) September 8, 2022

Ana de Armas slays in every possible way in #BLONDE. At times a horror film with its icon standing alone against an endless string of repulsive men. People will hate this, but it’s actually very beautiful and great. #venezia79

— Pernille Middelthon (@PMiddelthon) September 8, 2022

#Venezia79 #Blonde In the circle of light, a progressively darker glossy fantasy. Heavy on symbols, ghostly in touch. De Armas plays Marilyn with desperate abandonment. You'll see her floating, grabbed by famished ghouls. More of her, more, more, more. Last hour is the best.

— Lorenzo Ciorcalo (@rotovisor) September 8, 2022

#Blonde cannot be saved by Ana de Armas' career-defining work.
Excruciatingly vapid & voyeuristic depiction of Norma Jean's abuse with unrelenting coldness for her tragic life & career.
An empty, gratuitous, uncaring & exploitative add-on to the icon's suffering#Venezia79 pic.twitter.com/503FOk7AdX

— Ren Geekness (@RenGeekness) September 8, 2022

Andrew Dominik’s BLONDE is many things but definitely not bland — a voyeuristic must-see, if only for Ana de Armas’ fearless plunge into the tortured role of Marilyn Monroe. My @THR review of the Netflix feature, premiering in the #Venezia79 competitionhttps://t.co/jqeEiH0DXp

— David Rooney (@DavidCRooney1) September 8, 2022

BLONDE. Ana de Armas shines in Dominik's heartbreaking fictional biopic. A nightmarish descent into objectification of women and the destructive nature of fame, where the blonde actress's identity is annihilated by those around her. Devastating and hauntingly beautiful. #Venice79 pic.twitter.com/LUboB1fQH4

— Nicolò Grasso (@nickygra97) September 8, 2022

I enjoyed BLONDE for the same reasons I loved THE ASSASSINATION OF JESSE JAMES (still Dominik's best): its reticence to follow conventional biopic tropes to embrace something more impressionistic, messy, sprawling. Ana de Armas is terrific, as was Cave & Ellis's score #Venezia79 pic.twitter.com/3lFD1reTxC

— Leonardo Goi (@LeonardoGoi) September 8, 2022

Very torn on Andrew Dominik's #Blonde. Creatively he takes big swings that often connect, and Ana de Armas is excellent. But despite decrying the graphic rape & sexual exploitation of the fictional Marilyn, the film is guilty of it as well, veering close to trauma porn #Venezia79 pic.twitter.com/HeOEWganMJ

— Tom O'Brien (@thomaseobrien) September 8, 2022