DAU. Natasha has no credits to explain the wild concept behind its existence, but context is everything. The sophomore feature from Russian director Ilya Khrzhanovskiy follows his well-received 2004 debut 4, but this is the rare case of an extensive delay that makes complete sense.
The movie takes the form of a sexually explicit drama with a jarring Orwellian turn in its final act, and ends with a harrowing sexual assault, but the circumstances behind the scenes deepen the queasy intrigue that has defined the life of this project for more than a dozen years.
(…) DAU. Natasha makes a helluva first impression. (…) It’s a unique intellectual exercise. One leaves the experience with a profound desire to learn more about where it came from and everything that didn’t make the cut.
Eric Kohn, Indie Wire
An exquisitely sinister study of Soviet oppression.
Peter Bradshaw, The Guardian