Critic Reviews

It’s an achingly elegant piece of work which I’m already looking forward to revisiting.

The unassumingly magnetic Okonedo radiates the assertiveness and tranquility of someone secure in her reality.

Yet for all the sadness at the core of its story, “Clarissa” is captivating in how honestly and openly it confronts that emotion.

There’s a radical bent to the Esiris’ interpretations of and deviations from Mrs. Dalloway.

Clarissa takes some time to answer its central question about the nature of freedom within rigid sociopolitical structures. The languid approach has structural and thematic purpose, and an answer in and of itself.

The Esiris have created a seductive, mesmeric picture.

Powered by excellent performances from Sophie Okonedo and India Amarteifio, who convey the multitudes of a fascinating titular character, “Clarissa” shines as a unique perspective on Woolf and exemplifies the Esiri brothers’ compelling vision as filmmakers.

Okonedo and Oyelowo give affecting performances as star-crossed lovers who can’t quite own up to their mistakes . . . Together they give Clarissa a touching guardedness that might not offer the spit and fire of Woolf’s Mrs. Dalloway, but certainly understands the permanent heartache and the poeticism of a life deferred.

The Esiris cast a perceptive eye over the elite social constellation that has fallen into orbit around this dutiful but unfulfilled society wife, and have nothing but compassion for her as she spins slowly around and around at its center: loved by some, resented by others, admired by all — and totally alone.

A funny and formally adventurous adaptation of Virginia Woolf’s Mrs Dalloway set in modern-day Nigeria.