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The First Monday In May
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DIRECTORS OF "The First Monday In May"
The First Monday In May
CRITICS OF "The First Monday In May"
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Times (UK)
Resource

October 07, 2016

I am always a sucker for the eye-gasm of a fashion documentary.
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Laramie Movie Scope
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January 15, 2017

This was more interesting than I thought it would be not just because it shows how much work, thought and creativity goes into such a show, but because of the deep connection to film in this project.
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Chicago Reader
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April 28, 2016

Gorgeous, gossipy, yet penetrating documentary about the marriage of culture and commerce.
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The Arts Desk
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September 30, 2016

Both events are minefields of planning and politics, which Rossi captures well, though meanderingly at times.
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Globe and Mail
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April 22, 2016

There are many deliciously revealing moments, including discussions about who will sit where at the gala - there has to be a celebrity at every table - and whether Vogue can afford to pay Rihanna twice the usual fee to entertain the guests.
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El Pais (Spain)
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April 05, 2017

A film that, with each look, each sentence, each reproach, is conforming itself as an interesting portrait of characters, commanded by a great protagonist. [Full review in Spanish]
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Time Out
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September 26, 2016

The kind of party you'll almost definitely never get an invite to.
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Irish Times
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December 27, 2016

Maddeningly unfocused.
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Toronto Star
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April 21, 2016

Will lights and hardware be ready? Can they afford the $200K demanded by headliner Rihanna? The viewer's pulse may rise, too, as Rossi's camera roams frantic hallways, offices and limos.
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Ozus' World Movie Reviews
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November 07, 2016

The doc clearly tells us that we better believe that fashion should be viewed as art because fashion creates dreams.
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BuzzFeed News
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May 04, 2016

If you don't care about fashion there is another issue that unfolds fascinatingly over the course of the film: whether the theme of "the impact of Chinese aesthetics on Western fashion" is actually a celebration of Orientalism.
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Arizona Republic
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April 21, 2016

The film's focus is too easily distracted by celebrity and turns less documentary and more fawning love letter to an industry already in love with itself.
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