SCHNITT - Patrick Hilpisch:
“Matthias Grunskys unaufdringliche, aber effiziente Kameraarbeit fängt dies ein, ohne mit allzu durchsichtigen Doku- Anleihen einen künstlichen “Realismus - Touch” zu beschwören. Der Österreicher findet stets die richtige Balance zwischen subtilem Handkameraeinsatz und klassischen, eher statischen Einstellungen. Dieses visuelle Konzept, die Akteure und die teils schrägen, aber lebensnahen Dialoge verleihen dem Film ein nahezu perfektes Maß an Glaubwürdigkeit und Emotionalität.”
FILMCOMMENT - Amy Taubin:
"Matthias Grunsky’s 16mm lensing is eye-popping from beginning to end.”
VARIETY - Alissa Simon:
"...On his third outing with Bujalski, d.p. Matthias Grunsky's intimate, unshowy lensing keeps the focus on the characters, with Jeannie's wheelchair taking on a presence of its own....."
NEW YORK MAGAZINE:
"The mumblecore icon’s latest, an ambling, understated story revolving around twin sisters in Austin, Texas, is visually expansive and heartrendingly acted."
BOSTON HERALD - Stephen Schaefer:
"It’s not much to hang a movie on, but the people are pleasant if not particularly memorable and Matthias Grunsky’s 16 mm cinematography crisply captures the reality of lives that are far from hip, but so very typical."
THE LUMIÉRE READER - Tim Wong:
“Also eschewing the indie movement’s preference for digital is his loyalty to film stock—the warm, inviting tones of Matthias Grunsky’s 16mm photography another reason why Bujalski’s moviemaking continues to engage and is a cut above the rest.”
SLANT MAGAZINE - Andrew Schenker:
"...Swapping the grainy black-and-white of his previous feature, Mutual Appreciation, for a softer, pastel-inflected color palette (DP Matthias Grunsky does great things with greens) and tightening up some of the Faces-derived ramblings of the earlier picture, Beeswax charts a few days in the life of a handful of Austin thirtysomethings..."
THEAUTEURS.COM - Daniel Kasman:
"This is within the atmosphere of relaxation, because despite the mannerism of Bujalski's script, the story moves at life's rather dull and sidelong pace, which makes for a particularly odd atmosphere of a film that is evocatively casual in all things as it moves from person to person and place to place, but exudes a subtle energy of irritation throughout every minute of it. Yet this irritation, somewhat paradoxically, is evoked through a particularly lovely example of filmmaking, Matthias Grunsky's photography a terrific example of someone who chooses to shoot in color for aesthetic reasons and not by default, and Bujalski's sense of editing and staging in Beeswax being some of the sharpest I've seen in some time."
THEAUTEURS.COM - Ignatiy Vishnevetsky:
“Andrew Bujalski's one of the most distinctive directors of drama to emerge in the last decade. The elements that define his work are instantly recognizable: the abrupt starts and stops (those words seem more appropriate in regard to his movies than "beginnings" and "endings") and his instistence on not offering resolutions at the end of his films; the careful interplay of details that mark both his characterization and his framing; and the nuanced, often beautiful images he creates with his regular cinematographer, Matthias Grunsky. Frankly, he's got more in common with Mike Leigh and recent Patrice Chereau than with his friend Joe Swanberg.”