Critic Reviews

While the story beats may not be surprising, Poser still acts as an impressive debut for not only the directors but also Mix and Kitten, who create a simmering tension between them.

There’s much to admire here, but perhaps the film’s main achievement is the delicate balance struck with the central character.

The whole thing is oddly beautiful, absurdly compelling and even freakishly watchable. The general sensation of it approaches the out-of-place feeling of being at a party you don’t quite feel cool enough for. But since you’re already there, why not linger for a few drinks and embrace an intriguing ride outside your comfort zone?

At once polished and punky, Poser is about the maturing of a vampiric personality. Like its music, the movie feels exploratory and raw-edged, yet with a persistent pathos that clings to Lennon and isolates her.

What’s most compelling about Poser is the titular concept it seeks to unravel, one of deception and contrivance that epitomizes the ultimate sin in expressive art.

While Poser works up to a somewhat predictable ending, the details and ideas that get us there are fascinating and unique.

A mesmerizing immersion in music, a “scene” and the obsessions of a member of the “Hey everyone, notice ME” generation.

A somewhat familiar story about obsession set adjacent to the unique world of the underground music scene in Columbus, Ohio, Poser is a charming and dark debut from directors Ori Segev and Noah Dixon.

While it ultimately reveals everything too late, the film still feels fresh and, unlike plenty of what is released today (on podcasts and in theaters), actually does have something to say.

Poser, the debut feature from local filmmakers Ori Segev and Noah Dixon, is so in love with the scene from which it draws, with the bands given momentary cameos, with the cool hipness and store brand subversion of it all, that they never seem quite capable of giving it the critique for which they seem to aim.