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Death and the Maiden
Directed by
Roman Polanski
R
1994
1h 43m
Mystery
,
Drama
,
and more
7.2
82%
81%
Watch Free
A political activist is convinced that her guest is a man who once tortured her for the government.
More
Cast of Death and the Maiden
Sigourney Weaver
Paulina Escobar
Ben Kingsley
Dr. Roberto Miranda
Stuart Wilson
Gerardo Escobar
Krystia Mova
Dr. Miranda's Wife
Jonathan Vega
Dr. Miranda's Son
Rodolphe Vega
Dr. Miranda's Son
Gilberto Cortés
String Quartet Player
Jorge Cruz
String Quartet Player
Carlos Moreno
String Quartet Player
Eduardo Valenzuela
String Quartet Player
Sergio Ortega Alvarado
String Quartet Manager
Karen Strassman
Elena Galvin (uncredited)
Death and the Maiden Ratings & Reviews
Chicago Sun-Times
Roger Ebert
Richer than its materials might promise.
New York Times
Caryn James
Mr. Polanski treads lightly on the clumsier lines, and sustains tension by creating an elegant, unobtrusive dance with the camera.
San Francisco Chronicle
Mick LaSalle
Death and the Maiden forces the audience to confront questions about torture and punishment.
Rob's Movie Vault
Rob Gonsalves
Polanski kicks the movie up to a level of emotional violence rare in English-speaking films.
Austin Chronicle
Marc Savlov
A streamlined razor-ride of a movie: taut, riveting, and a psychological horror show that will leave nail-marks in your palms for days afterwards.
Slant Magazine
Nick Schager
Roman Polanski's underappreciated 1994 thriller Death and the Maiden confronts a litany of moral conundrums regarding guilt, revenge, punishment, justice, and man's responsibility to himself and society.
Chicago Reader
Jonathan Rosenbaum
Polanski certainly gets the maximum voltage and precision out of his story and actors, keeping us preternaturally alert to shifting power relationships and delayed revelations.
Rolling Stone
Peter Travers
Polanski keeps the situation ambiguous to provoke questions of guilt and responsibility.
Combustible Celluloid
Jeffrey M. Anderson
A relentless, superb thriller.
Washington Post
Desson Thomson
The Polanski touch -- apart from a little suspense here and there -- is limited.
Washington Post
Hal Hinson
The fundamental strength of Weaver's personality doesn't work here. Nor does her particular style of rage and sorrow.
Variety
Todd McCarthy
Kingsley shrewdly tantalizes the viewer about his identity, and gets to deliver the text's most riveting monologue at the end. The lesser-known Wilson may be the first among equals, impressing strongly as the equivocating husband.
EmanuelLevy.Com
Emanuel Levy
Polanksi's direction is crisp and precise but he doesn't resolve basic problems of the stage-to-screen transfer: The tale is claustrophobic (mostly limited to one set) and schematic, with all three characters serving as ideological mouthpieces.
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