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HD   Unrated Closed Captioning

Julian Rosefeldt

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About the Movie

From acclaimed visual artist Julian Rosefeldt, “Manifesto” features two-time Academy Award winner Cate Blanchett in 13 distinct, must-see vignettes that incorporate timeless manifestos from 20th century art movements. From anchorwoman to homeless man, from Pop Art to Dogma 95, a chameleonic Blanchett gives a tour-de-force performance as she transforms herself. Rosefeldt weaves together history’s most impassioned artistic statements in this stunning and contemporary call to action.


Rotten Tomatoes Movie Reviews


  • Reviews Counted: 70
  • Fresh: 53
  • Rotten: 17
  • Average Rating: 6.7/10

Top Critics' Reviews

Rotten: Ph.D.s in art theory will chuckle knowingly as everyone else eyes the exit. – Chris Nashawaty, Entertainment Weekly, May 11, 2017

Fresh: It's no longer a showcase primarily for the artist. Manifesto becomes a tribute to the actor - and to the process of acting itself. – David Fear, Rolling Stone, May 10, 2017

Fresh: Whatever Rosefeldt intended, "Manifesto" doesn't quite set forth a manifesto of its own. But it's a blast of fresh air. – Sheri Linden, Los Angeles Times, May 25, 2017

Fresh: Rosefeldt and a very game Blanchett spring one surprising creation on the viewer after the other. But what it all adds up to is of course up for debate. – Boyd van Hoeij, Hollywood Reporter, May 11, 2017

Read More About This Movie On Rotten Tomatoes

Customer Reviews


I like arthouse cinema, but this film was beyond boring. It is one long, tedious dialogue and not nearly as dynamic as the trailer. The film also plagiarizes, because it does not adequately cite its sources. At the very end of the credits, in a tiny font, the film cites its authors in one big block paragraph. If you are an art student, the film would be worth watching with a study guide that cites the art movements and authors as you watch it. Finally, for a film devoted to art, the film lacks compelling visuals; it has a few but not enough to sustain interest.


Visually stunning . . . auditorily as boring as watching paint dry

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